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HOME DRESSMAKING

A Sewing Room

HOME DRESSMAKING

A COMPLETE GUIDE TO

HOUSEHOLD SEWING

BY ^

ANNIE E. MYERS

Fully Illustrated with more than One Hundred Engravings

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y CHICAGO

CHARLES H. SERGEL & COMPANY

MDCCCXCII

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PREFACE.

In undertaking this work there has been a higher
object than merely adding another to the long catalogue
of books. My great ambition has been to help women
who are trying to help themselves. As a young woman
who wished to be as well dressed as my limited means
allowed, I had to work out for myself the principles of
planning, cutting and making my own gowns. Again,
as a writer for newspapers and magazines, I had to study
to formulate into words the knowledge I had gained by
practical work. Many and many were the times I
wished for some book to help in both my hand work and
my writing. There was none in the market. To offer
other women the help I vainly craved I present this
book to the public.

Annie E. Myers.

CONTENTS

CHAPTER I

TOOLS FOR THE WORK

Training for Hand-sewing — The Sewing-room — Tools for Cutting
— The Shears — Tools for Sewing — Tools for Fitting — Tools
for Pressing. ,...'.... ii

CHAPTER H
dressmakers' findings
Linings — Facings — Wadding and Canvas — Fastenings — Whale-
bones and Casings — Shields — Yokes. . . . . .21

CHAPTER III

HOW TO MAKE DRESS SKIRTS

The Modern Gored Skirt — The Foundation Skirt — Skirt Drap
eries — The Kilt Skirt — The Trained Skirt — Reeds. . . 29

CHAPTER IV

HOW TO MAKE A BASQUE

An Ordinary Basque — The Pattern — First Step in Making — Bast-
ing the Lining — Fitting the Lining — Fitting the Basque — Cut-
ing out Stripes and Plaids — Stitching Seams — Finishing Seams
— Pressing Seams — Finishing Closing Edges. ... 47

CHAPTER V

HOW TO MAKE A BASQUE — CONTINUED

Boning a Basque — Scale for Placing the Bones — Finishing Edges
— To Finish a Tailor Garment — Lead Weights. . . 64

CHAPTER VI

SLEEVES AND COLLARS

Dress Sleeves — Making a Coat Sleeve — Sewing in a Sleeve —
Jacket and Cloak Sleeves — Standing Collars — Turned-over Col-
lars— Revers Collars — Plastrons. ..... 78

vii

via CONTENTS

CHAPTER VII

JACKETS AND CLOAKS

Ladies' Tailoring — Its Difi&culty — The Pattern — Sponging Cloth
— Cutting Cloth — Lining a Wrap — Finishing Seams. . 89

CHAPTER VIII

PLAIN SEWING AND FANCY STITCHES

Over-hand Sewing— Fine Stitching — Running Seams — Back-
Stitching — Hemming — Hem-Stitching — Felling— French Fell
— Gathering — Shirring — Overcasting — Tucking — Gussets-
Patching — Sewing on Strings 96

CHAPTER IX

PLAIN SEWING AND FANCY STITCHES CONTINUED

Slip-Stitching — Whipping — Binding — Cording — Piping — Darning
— Chain-Stitch — Cross-Stitch— Herring-Bone Stitch — Loops —
Button-holes — Sewing on Pearl and Similar Buttons. . no

CHAPTER X

UNDERWEAR

Materials — Cut, Fit and Making— Chemise — Drawers — Corset-
Covers — Nightgowns — Petticoats — Dressing-Sacques — Wrap-
pers— Aprons. . . . . . . . . .125

CHAPTER XI

INFANTS' WARDROBES

How to Dress Baby — A Simple Layette — How to make it — Caps
and Cloaks— Nurses' Suits. ...... 140

CHAPTER XII

children's CLOTHES

American Mothers — Short Clothes — Small Boys' Clothes — Dress
for Girls — An Apron. ........ 148

CHAPTER XIII

DRESS TRIMMINGS

Bias Bands — Plain Binding and French Hem -Round Piping —
Cord-edge — Double Cord-edge — Straps and Bands — Fur Trim-
mings— Flounces — Pleating. 157

CONTENTS ix

CHAPTER XIV

SPECIAL COSTUMES

Riding Habits— Cycling Costumes — Bathing Suits— Dress for
Business Women — Artistic and Reform Dress — To Dress for

the Photographer. 167

CHAPTER XV

DRESS FOR HOME AND FOREIGN TRAVEL

Dress for Home Travel — Dress for Southern Travel — Dress for
the far East — Dress for Ocean Travel. .... 189

CHAPTER XVI

MOURNING

Mourning for Widows — Mourning for a Parent, Child or Sister —
Children's and School-girls' Mourning — Complimentary Mourn-
ing— Second Mourning — For the Neck. . . . . 200

CHAPTER XVII

BRIDAL OUTFITS

Seasonable Gowns — The Veil — Bridesmaids' Dresses — For Quiet
Weddings — The Best Date — Brides' Traveling Dresses — The
General Trousseau. ........ 206

CHAPTER XVIII

FANCY AND THEATRICAL DRESSING

Materials for Stage Dresses — Effect of Color — Waists and Skirts
— Some Fancy Dresses, . . . . . . .215

CHAPTER XIX

HOW TO BE YOUR OWN MILLINER

Correct Taste — To Trim a Hat — How to Make a Stiff Crowned
Hat or Bonnet — Making Drawn Bonnets or Hats — Taste in
Colors. .......... 227

CHAPTER XX

THE DRESSMAKER AT HOME

Three Methods — Preparing for the Home Dressmaker — Hints for
Making Over Dresses. ....... 240

CHAPTER XXI

FABRICS, LACES AND EMBROIDERIES

Vel vet — Silk — Linen Cloth — Laces — Embroideries — Ostrich
Feathers — Widths of Dress Fabrics. , .... 249

X CONTENTS

CHAPTER XXII

THE HOUSEHOLD LINEN

In what it must consist — Darning Table and Bed Linen — The
Linen Closet 265

CHAPTER XXIII

LAWS OF CORRECT DRESS

Considered from the point of Economy — Considered from the
point of Beauty — Dress for Slender Women — Dress for Stout
Women — Individuality in Dress — Dress for Red Hair — Dress
for Blonde Hair — Dress for Brown Hair — Dress for Black Hair
— Dress for Gray Hair — Jewels — General Remarks. . , 273

CHAPTER XXIV

THE ETIQUETTE OF DRESS

Incongruities — Correct Dress for the Morning — Correct Dress for
Teas, Matinees and Afternoon Receptions — Correct Dress for
Dinners — Correct Dress for Lawn Parties — Correct Dress for
Driving and Coaching — Correct Dress for Weddings and Wed-
ding Anniversaries — Correct Dress for Dancing Parties — Cor-
rect Dress for Mourning — Correct Dress for Servants. . 295

CHAPTER XXV

TERMS USED IN DRESSMAKING 31O

CHAPTER XXVI

TO CUT A BASQUE PATTERN BY MOLDING

The Front — Back and Side-Bodies — Embellishments — The Sleeve 318
CHAPTER XXVII

CUTTING-OUT BY MEASUREMENT

Introduction — Measurements — How to take Measures — Verifica-
tion of the Measurements — Variable Measurements — Draft of
Pattern of a Dress — Verification of the Patterns for a Body —
Pattern for Basque — Dressing Gown — Low, Round Waist —
Transposing Measurements — Drawers for a Woman — Drawers
for a Girl — Princess Apron — Apron with Straps — Apron for a
Child 325

HOME DRESSMAKING
A Complete Guide to Household Sewing

CHAPTER I
TOOLS FOR THE WORK

TRAINING FOR HAND-SEWING — THE SEWING-ROOM — TOOLS

FOR CUTTING THE SHEARS — TOOLS FOR SEWING TOOLS

FOR FITTING — TOOLS FOR PRESSING

TRAINING FOR HAND-SEWING

When a woman attempts to make a dress, we natur-
ally conclude she knows how to sew. Let us hope she
has practiced running up long seams, both by hand
and machine, that she knows how to hem, blind-stitch,
gather, fell, and, above all, to baste. Our grand-
mothers served their apprenticeships piecing patch-
work together. Nothing could be a better schooling.
There has been much said, and with good cause, against
the waste of time and talent over patchwork. A woman,
skillful and intelligent, spending days and weeks over
a bedquilt, is not an ennobling thought. She might
do something more important, do much that would

12 TOOLS FOR THE WORK

make her world wider and those around her more com-
fortable, it would seem. But, for a child or young
girl, there is no better training for the hand, the eye
and the contriving, accurate intelligence than to neatly
join pretty pieces of cloth into symmetrical designs.

In later chapters will be found complete and clear
explanations of plain sewing and the clever but inexpe-
rienced woman will find therein many assistants to the
proper and effective use of the needle.

But just here we must start out with the idea that
the dressmaker is capable of doing plain sewing.

We would pause here, however, to comment upon the
value of hand-training for woman. A skillful use of
the hand is alwa5^s conducive to a well furnished
and orderly mind. It calls into more perfect use the
touch and the sight. It tends to make the useful also
the beautiful. The prejudice against manual labor is
slowl}' but surely disappearing. The little girl who
is now being educated for any field of intellectual and
administrative work, is not well equipped unless her
hands have been trained to do dainty needlework and
are skilled in other handicraft. This physical develop-
ment along with the mental is according to nature's
method of preserving a balance of power and a proper
equilibrium between the brain and hands.

THE SEWING-ROOM

With the hands trained, the woman who would make
dresses must furnish herself with the proper tools. To

TOOLS FOR THE WORK 13

begin with, she should have a sewing-room. If, in
the economy of the house, there is no room she can
devote exclusively to that purpose she must have one
that is given up to that occupation for the time being.
It is as absolutely necessary to have such a room to do
good dressmaking as it is necessary to have a kitchen
to cook in, a studio to paint in, a sanctum to write
in. If it is at all possible, she should close herself up
in it with her tools and fabrics and forbid interruption.
To do anything well, one must give one's entire atten-
tion, one's whole mind, to it. This is true in dress-
making as in everything else. Another reason why
one should liave such a room is, that all materials and
tools may be kept there together in their places and
just where the hand maybe put upon them the instant
they are needed. And, when such a room is devoted
to that purpose, pieces of fabric may be left undis-
turbed and ready for use. If they must be gathered
up, they are often thrown away and are missing when
they are wished for afterward.

This room may be furnished as simply as can be
imagined, yet it must have two chairs, an ordinary
cane-bottomed square chair of medium height and a
low one. We would not recommend a rocking chair
to sew in, but a low rattan chair without rockers is
just the thing. A footstool is also a very convenient
thing to have in a sewing-room. A woman who pins
her work to her knee when she sews should have that

14 TOOLS FOR THE WORK

foot on a stool. This relieves the back of much bend-
ing and back-aches are less frequent.

TOOLS FOR CUTTING

For cutting ample provision should be made. The
table upon which material is laid preparatory to cut-
ting should be perfectly smooth and of sufficient dimen-
sions to permit the largest patterns to be laid out
entirely. For such pieces as a trained or kilted skirt
this is often not practicable but the worker must then
exercise her most careful ingenuity and judgment. The
home dressmaker is often led into the most expensive
mistakes by cutting out on the floor or bed. We can
not be too urgent against such a proceeding.

Therefore in our sewing-room there must be a table
at least four feet long and three feet wide for cutting
out. The best table is the substantial ordinary one
of wood, with a smooth, even surface and square
corners. If this is not available, one of the folding
tables of at least that size is reasonably convenient.
They are certainly entirely satisfactory for cutting but
a more substantial one is better for pressing, and there
is no reason why the same table should not be used for
both purposes.

When working at the table, either cutting, basting
or pressing, one should sit, not stand. When sitting
one can easily reach across three feet of space and two
feet on either side. This saves much tiresome bend-

TOOLS FOR THE WORK 15

ing of the body and wearied feet and legs at the end of
the season of sewing.

This table in the sewing-room will be used for all
sorts of other purposes beside cutting out the original
garment. But an ordinary lap-board should also be
provided. It will often be used when cutting small
pieces like collars and facings and when putting flounces
or pleatings on the bottoms of skirts it will be found
indispensable. Perhaps the most important tool in
the sewing-room is a pair of shears. In dressmaking
much depends in the beginning upon clean, evenly cut
edges. In basting or stitching seams the eye is easily,
although often unconsciously, influenced by the out-
lined edges and where they are rough or uneven the
seam is wavering and inaccurate.

Clean cut and even edges also influence the stitcher
to finish the seams in a neater manner. She will with-
out thinking execute that part of the work with greater
precision.

THE SHEARS

Long, slender and sharp blades should characterize
the shears used. Never attempt a garment with dull,
rough or rusty ones with a loose rivet, nor with dainty
little embroidery scissors. Use shears of good metal
not less than eight inches long with bent handles, with
well sharpened ends and riveted just tight enough that
no resistance will be noticeable when opening and
closing them. Take care of them when they are not
in use. Keep them from dampness and do not let

1 6 TOOLS FOR THE WORK

them fall as that will often impair the nicety of their
adjusted blades.

TOOLS FOR SEWING

Ever}' sewing room should have a machine that is
light running and capable of sewing from the heaviest
to the lightest fabrics. It should be kept well oiled
and in order. It should also be kept perfectly clean.
Do not let it become clogged up with dust or old oil.
A little kerosene will clean all this away, when it in
turn must be wiped off and the machine properly oiled
with the best machine sperm oil. It is pleasant to
have all the attachments invented with the machine,
but for dressmaking one must have the hemmers, the
tuckers and the gatherer. At the side of the machine
provide a scrap bag in which can be stowed away use-
less pieces, and thus save the bother of picking them
off the floor later. Two bags are not too many ; one for
absolutely useless pieces, the other for larger scraps
that may be found useful later on.

There are many minor details of the sewing-room's
furnishings which will gradually be provided and
accumulated as the sewer prosecutes her work. But
her sewing basket must be well stocked to commence.
It should be a strong basket or box sufficiently large
to meet all ordinary requirements. It must contain
needles of all sizes and chosen from those of good
quality. Those with egg-shaped eyes are the easiest to
thread. They should have long taper points, as it is
impossible to sew on stiff material with a conical-pointed

TOOLS FOR THE WORK 17

needle without pricking one's fingers at every stitch.
Tn every case the needle must be large enough to draw
the thread through the fabric without the least effort.

There must be pins in plenty, cotton thread and spool
silk in both white and black with a good large spool
of coarse basting cotton. There must be an emery bag,
which should be home made, as those bought in merchan-
dise stores are generally filled with anything rather
than good filings. There should be a square of hard
white soap. A linen seam is a difficult seam to sew
by hand or machine. If you pass the soap over it
before commencing, all the difficulty is instantly re-
moved.

There must be in this basket a well fitted thimble.
Two thimbles are even better, as it is very provoking
to be forced to stop and hunt a thimble that has momen-
tarily disappeared just when you most need it. They
must exactly fit the finger. It is ver}' uncomfortable
to work with a thimble which turns on the finger; if
the extra space is filled with paper or rag, it renders
the thimble too heavy and the thread is liable to catch.

There must be a lead pencil and a good tape line and
a pair of button-hole cutters with a gauge are a great
convenience. Equally pleasant to have at hand are a
sharp steel punch or chisel and a perforated bodkin for
drawing a cord or tape through clings or hems.

This basket should be provided with a cover to keep
its tools free from all but ordinary dust. A piece of
silk as long as the basket around its top and about

1 8 TOOLS FOR THE WORK

six inches wide makes a good cover. Join its ends and
sew one of its edges to the basket top. Then run a
casing in the other edge of the silk and pass a draw-
ing-string through it. Thus the cover may be opened
and closed at pleasure.

A medium size leaded pincushion is extremely con-
venient for use in pinning the work. Pinning the cloth
to the knee is very poor policy, on account of the
fatiguing stoop it causes. When the leaded pincushion
is at hand, the cloth is so easily attached, and a woman
who has become accustomed to one will never be
without it. They are easily made, the heavy piece
of lead being securely hidden in the sawdust used to
fill the cushion.

TOOLS FOR FITTING

There is an absolute necessity for a mirror in which
the entire figure may be surveyed. Even in fitting a
bodice or short wrap the general effect should be the
thing considered. Their lengths can only be decided
correctly in reference to the entire length of the figure.
The best mirror is one that swings in a frame. Such
a one in a dressing-case is very convenient, and there
are less expensive ones called easel mirrors. If these
are beyond the means at hand, place any ordinary mirror
on the floor at an angle Avhere a view of the entire
figure can be obtained. The gown must harmonize
with the wearer. In other words, you must adapt the
materials to yourself, and this can only be done by see-
ing yourself as others see you.

TOOLS FOR THE WORK 19

The next best help one can have for this purpose is
an adjustable wire form. The forms that may be
adjusted to correspond with neck, waist and bust meas-
ure are few and expensive, if they are of any value at
all, but there are skirt figures that may be bought for a
couple of dollars — they are a capital investment. Drap-
eries may be adjusted with the greatest ease when they
are used.

TOOLS FOR PRESSING

Among the most importanttools are aflatiron and some
means of heating it. In this day of steam radiators
there is often no such means at hand. There have been
many inventions given an aggrieved and credulous pub-
lic, such as attachments to gas jets, alcohol burners,
etc., but the best thing is a little kerosene stove. There
is no reason why it should be dangerous ; nothing but
the grossest carelessness makes it so, and it heats a
flatiron in a few moments.

Remember there is everything in the proper pressing
of the garment. This applies to the skirt seams, the
hems, the bodice seams and facings and to the sleeves
as well. A good investment is a couple of press boards,
one for skirts and a smaller one for bodices and sleeves.
Any carpenter will make them and the cost is but a
trifle, while the convenience will more than repay an
even greater expenditure. A skirt board should be
about forty-four inches long, the length of an ordinary
skirt and nine inches wide. The sleeve board should
be five inches in width and twenty-seven inches long.

20 TOOLS FOR THE WORK

Give them each at least one thickness of flannel and
add a cotton cover. With these and a couple of hot
flat-irons and plenty of strength, the homemade dress
may be made a very presentable affair-

CHAPTER II
DRESSMAKERS' FINDINGS

LININGS FACINGS — WADDING AND CANVAS EASTENINGS

WHALEBONES AND CASINGS — SHIELDS — YOKES

LININGS

Those who undertake to learn the trade of dressmak-
ing find that silesia, braid and canvas represent the A
B C's of the art. The novice will do well to try every
pattern or idea in the smooth, firm but inexpensive
silesia. It is the amateur dressmaker who frequently
makes the mistake of plunging at once into all the per-
plexities of silks, velvets and furbelows. Such experi-
ments are pretty sure to result disastrous!}'. She is
liable to waste a great deal of material and to expend
so much time and patience in several thousand times
too many stitches that she gives up trying to sew at all.
How much better to begin with the anatomy of the
dress. Master the fit in the linings, which is reall}-
essential to the successful fabrication, and then suc-
cess awaits further along the line of experience and a
garment is achieved of which the maker may well feel
proud.

22 DRESSMAKERS FINDINGS

"But what kind of linings should we use?" do you
ask?

In the first place, don't use old linings. Such a
course is not economy at all. For with linings that
have lost their firmness and body no waist can be made
to fit, no skirt made to hang properly. The same may
be said of whalebones, hooks and eyes, braids and
sometimes of buttons, although the latter can again be
used more frequently. Yet cloth buttons are usually
worn shiny and metal ones are tarnished.

Have plentiful and good lining materials. Ail dress
fabrics, except some cottons, require a foundation to
protect them from strain ; cloths and woolens stretch,
laces and sheer woolens tear and silks cut and split with-
out a good under foundation.

Silk, cambric and silesia are each in turn used.
Each has its recommended qualities and each again is
entirely unsuited to certain purposes. Silk linings
are by all odds the most elegant and comfortable. To
be sure they are a little expensive in the first outlay
but they wear so well and are so light in weight, per-
fect in fit and generally elegant in appearance, they are
favored by our leading and best modistes.

For dresses intended for general wear the soft fine
French cambric can not be too highly recommended.
Silesia is also an admirable lining material for almost
any dress and for all its parts. For the waist and
its sleeves it is unsurpassed, and for the skirts of dresses
as well.

DRESSMAKERS' FINDINGS 23

The purpose of a dress lining is twofold. It is
necessary as a neat finish and as a foundation. Some
ladies will tell you they use good, perhaps the best
linings for the waist, not quite so good for the sleeves,
and that anything Avill do for the skirt of a dress. These
are mistaken economies. There is just as much strain
and wear on the sleeves of a dress as upon the waist and
the linings should be the same. The only difference
which may be made is for the skirt, where a lighter
and less strong material can be used, as there it is only
the neat finish and protection, and really no strain
upon it.

FACINGS

Beside the linings proper for skirts there are several
accessories which must be provided, that must be
classed with them. The facing for skirts comes first
among them. There is quite a diversity of opinion
as to which is preferable of some three or four which
are all in general use.

Perhaps we are safe in saying a majority of profes-
sional dressmakers face their skirts first with cross-
barred crinoline, afterward covering it with alpaca.
This certainly makes a soft finish to the skirt but also
one which is thick and clumsy and one which is extreme-
ly addicted to gathering and holding dust. Equally
objectionable for the same reason is the use of canvas
covered with alpaca. And there is yet another objec-
tion we may urge, and that is such facings do not

24 DRESSMAKERS' FINDINGS

wear well and are very hard upon the shoes of the
wearer.

Ladies who have their skirts finished in this manner
find themselves in a very short time forced to trim off
rags and tatters or look untidy with them hanging
around their feet, and, if the dress is at all durable, the
facing must be renewed at least twice during its exist-
ence. Very much better, for durabilit)^, cleanliness
and soft finish is the cotton padding. When it is used,
the work of facing a skirt is greatly simplified, it being
easily put on as will appear in our extended directions
for facing a skirt in a following chapter.

Every skirt must be finished with a braid or a vel-
veteen band. Pleated braids are sometimes used when
a little extra finish is required, but when an ordinary
braid is used it should be one of the best and then it
will not be a narrow one, but wide enough to cover all
edges.

WADDING AND CANVAS

Findings for the waists of dresses are more complex.
First is the lining proper, which as we have suggested be-
fore should be either silesia, cambric or silk. Whichever
is used, let it be the color of the dress unless it be a black
dress. Black lining should never be used for waist or
sleeves and dark gra3MS better for black skirts too, still
black may be sometimes employed for them. It is
quite likely to soil the underwear. There are many
good silesias woven black on one side and dark gray

DRESSMAKERS' FINDINGS 25

on the other, which will be found useful for some pur-
poses.

There are but few women — or men either — whose
forms do not require some "building up". Many dress-
makers place a laj^er of wadding between the lining
and the dress fabric reaching from the shoulders to the
top of the darts. This certainly gives a smoothness
over the bust, that is desirable, still it greatly increases
the warmth. One thickness of light quality of canvas
accomplishes the same end and is cooler. The tops
of the sleeves, from the shoulder to the elbow should
be given the same treatment when the form is not
plump and bones make unevennesses. When the form
is inclined to be too large below the waist, one thick-
ness of canvas placed between the lining and the
dress fabric below the tops of the darts assists in
keeping a basque or polonaise in shape.

FASTENINGS

When buttons are used, the button-holes are a seri-
ous question for the dressmaker and must be neatly
worked with good twist, or the garment is not beautiful
even when handsome fabrics are used. In Chapter IX.
will be found full instructions concerning button-holes.
When hooks and ej^es are used for closing, the ama-
teur dressmaker should ask for bent hooks, as those
slightly bent near the point stay fastened. Otherwise
it is necessaray to sew them on alternately, which makes
them very inconvenient for closing. Small rings
used instead of eyes on the outer part of dress waists

26 DRESSMAKERS' FINDINGS

should be covered with silk in button-hole stitches.
The very large hooks and eyes used as cloak and wrap
fastenings are also excellent for keeping up a heavy
skirt : four of the hooks being set on the waist just
below the belt, — two on the seam joining the back and
side-forms and one on each under-arm seam ; the eyes
are placed on the skirt band to correspond and the
wearer hooks them before fastening the inside belt of
her dress.

WHALEBONES AND CASINGS

The use of whalebones is an important item to con-
sider. Most ladies require every seam stayed. If the
seams were curved absolutely perfectly it would not
be necessary, but this art is seldom encountered.

When stays are needed, use the best wht^lebones
only. Nothing else wears so well nor gives the proper
elasticity. Horn, tin, steel and rubber have all been
used, and either rust, break or twist unpleasantly.

Galloon must be provided for casings in which to
run the stays. Casings of lining material make clumsy
seams.

Ribbon for binding the edges of the waist and sleeves
seams finish the waist in the most acceptable manner.
With loops to go in each armseye of the same by which
to hang up the waist, a neat finish is given. However,
this ribbon binding is repudiated by some ladies who
delight in the snuggest fits. They insist the binding of
edges draws the seams and demand rather they shall
be loosely top sewed and pressed.

DRESSMAKERS' FINDINGS 27

In any case a sufficient length of binding tor an
inside belt must be provided to attach at the back
seams at the waist-line to take the strain off the front.
It is usually fastened in front by medium sized hooks
and eyes.

SHIELDS

Dress shields must be provided, large ones in the
armseyes, and ladies who perspire profusely use small
ones in the sleeves at the elbow curve.

Some ladies abominate cheap shields for dresses.
They buy the best and take them out at intervals and
wash them in clean soap suds. This is not a bad idea.
It is also good practice to purchase cheaper ones and
change then often. None are perfect and neatness
requires they should be changed as soon as the slightest
odor can be detected. In any case it is good policy
to buy shields by the half dozen pair and so have them
always at hand.

A RESUME

For a medium sized woman's ordinary costume, con-
sisting of a walking length skirt and a basque with
coat sleeves, the following findings will be found neces-
sary : If silesia is used five and one-half yards for the
skirt, one and one-half yards for the waist and one yard
for the sleeves, or a total of eight yards. If ordinary
silk is used ten yards will be found sufficient. For the
skirt facing one yard of canvas, with one yard of alpaca,
or one yard of padding alone, if the latter is preferred.

Add to these three long whalebones, one boltofbraid,

28 DRESSMAKERS' FINDINGS

one bolt of ribbon to bind seams, one piece of galloon
for whalebone casings, one card of hooks and eyes or
one and one-half dozen of medium sized button, two
spools of twist, one of sewing silk and one spool of
basting cotton.

The findings required for jackets and outside wraps
of all kinds will be fully treated in chapters devoted
to such garments.

To conclude and at the same time be explicit we
would say do not buy cheap findings. They do not
pay. Do not use old linings or whalebones. It is
false economy. Findings do not show in one sense of the
word, but they tell every time in wear and general
comfort.

YOKES

A word as to keeping the whole gown in shape and
doing away with ' closet wrinkles. " Buy a wooden or
wire yoke such as tailors use for suspending coats,
and after turning the dress wrong side out fasten the
waistband and slip the whole over the yoke. It spreads
the folds of the drapery, preventing them from being
crushed into an unshapely mass, and keeps the foun-
dation from stretching down at the seams. These
yokes are inexpensive, and may be found at any dry-
goods store.

CHAPTER III
HOW TO MAKE DRESS SKIRTS

THE MODERN GORED SKIRT — THE FOUNDATION SKIRT SKIRT

DRAPERIES THE KILT SKIRT THE TRAINED SKIRT REEDS

THE MODERN GORED SKIRT

The size and st3de of skirts vary with each edict of
fashion. However, tliere are two general styles upon
which the changes are rung, the short walking skirt
and the trained skirt. Walking skirts may be divided
into the round full skirt and the gored skirt ; the former
is a mere matter of straight seams, a hem, and a gathered
top on a band, tliat anyone can make. But the shapely
gored skirt is a different thing.

The modern gored skirt is the work of an artist.
Some one has said "the making of one is like singing
an old ballad. A novice may sing a grand operatic aria
but it takes a genius to sing 'Comin' thro' the Rye,'
and to make a gored skirt. Both are most simpte in
design but most difficult of construction."

There are three things which go to make a perfect

skirt ; first an accurate cut, second a neat finish and

third a thorough pressing.

HOJV TO MAKE DRESS SKIRTS

The walking skirt most used is rather narrow in its
proportions. The only skirt less ample was the one
which showed its back breadth gored at the top to fit
as close as the present front and side-gores do.

Z^Inches. 7 Inches. 18 Fnches.

18 Inches.

THE FOUNDATION SKIRT

Every skirt should be made with a perfectly fitted
foundation. It should be of easy walking length, prop-
erly gored and not too wide. It is usually cut with
one front-gore, two side-gores and a straight back
breadth. For a lady of medium size who will measure
twenty-four inches around the waist the following are
the correct measurements for each part. The front
gore will be fifteen inches wide at the top with a dart
two inches wide allowed for on each side of the mid-

HOU^ TO MAKE DRESS SKIRTS 31

die of the front. It is forty inches in length in front
but is sloped to forty-one inches in length at the sides
and at the bottom is twenty-two inches wide. The side-
gores are each forty-one inches in length at their front
sides and forty-two where they are joined to their back
breadth. They are seven inches wide at the top with
two inches allowed for darts and are gracefully curved
to sixteen inches in width at the bottom. The back is
just one yard in width its entire length, which is forty-
two at its sides sloping to forty-four inches in the
middle. When quarter-inch-wide seams are taken,
the back has all its fulness gathered into five inches,
which is the correct proportion.

For home dressmakers it is much the best plan to
use a good pattern for this skirt, as no rule given in
figures can explain the graceful curves which each gore
should show to give the best effect. A skirt that hangs
ill is always dowdy looking. No matter how elabor-
ately draped or trimmed, a badly shaped foundation
skirt ruins all.

The materials used for the foundation skirt vary with
the fabrics employed for drapery. We will for exam-
ple suppose we require one for a dress of cashmere,
serge, cloth or silk. In which case the skirt should
be of lining silk the same color or a shade harmonizing
with it. However, good silk linings (poor ones are
an abomination) are expensive, and there are other
materials which make admirable linings. By some
sateen and silesia are preferred and the latter cannot be

32 HOW TO MAKE DRESS SKIRTS

too highly recommended except in the matter of weight.
It is always heavier than any other skirt lining, Yet
it is not too weighty. French cambric is also an excel-
lent material for skirts.

Whatever the material chosen, cut the front and back
breadths on a lengthwise fold of the goods and the side-
gores with their front edges on straight edges of it,

The seams of this foundation skirt are of course
sewed up separately from the outside or draped portions.
They may be sewed so that the smooth sides of the
seams are on the underside of the skirt and their rough
edges next the draperies. The facings in that case should
all be cut to fit the skirt after its seams are closed.

For heavy skirts it is better to slash the front-gore
for four inches at least on its lower edge to give greater
freedom in walking. This is a great saving to shoes,
whose leather over the instep is otherwise often worn
through while the other parts are intact. A tight braid
is very wearing in that respect.

The foundation of most skirts is faced on the upper
side under the draperies, four inches with material of
the drapery. This facing is laid on each portion of the
skirt with its upper edge turned under and stitched down
on the lining, before the skirt seams are sewed. Begin
to sew each seam (and there will be four in all) at the
top, allowing all unevenness to fall at the bottom. Be
careful not to stretch any bias edges. If you are an
entire novice it is the best plan to both pin and baste the
seams before stitching them. It will often save hours

I/Of!^ TO MAKE DRESS SKIRTS 33

of worry and ripping. When the seams are stitched,
press each one down flat, turning them alwa3S toward
the back, this method is better than laying the seams
open. In either case the edges should be overcast or
top-sewed, and thoroughly pressed, with a warm iron.

Then lay the skirt folded down the middle at the
front and back portions so that the corresponding
seams are together, on a table. Let them be even at
the top, and then pare off any unevenness at the bottom.

The matter of inside facing is a very important one
and also one upon which there is almost as much
diversity of opinion as there are dressmakers. How-
ever, when we resolve the question down to what is
really required, it is a simple thing to decide how to
face your walking skirts. A facing is required to
neatly finish the bottom of a skirt, and a facing is
required to obviate any luipleasant clinging about the
limbs when walking. What will best cover both
requirements is what we want.

Some dressmakers contend that this is, first a five-
inch piece of crinoline or canvas and tlien a piece of
alpaca. Another will demand a hem lined for twelve
inches with horse hair cloth, still another demands
canvas or buckram in like width. In most things the
simplest way is the best way, and we believe it is
especially true in putting on a skirt facing.

Much practice and experience convince us that skirt
padding used alone is the best thing and it certainly
is the cheapest. In some localities this material is

34 HO]V TO MAKE DRESS SKIRTS

called by other names. But it is a moderate weight fab-
ric glazed on one side and likecanton flannel on the other.
It possesses sufficient stiffness but at the same time
it is pliable and does not render even the lightest skirt
ungraceful. It is also a fabric which sheds the dust,
and when it is required may be wiped off with a damp
cloth. Again, its durability is a great recommenda-
tion: it will last as long as any skirt.

The neatest manner of putting on a facing is, after the
lower edge of the skirt has been properly pared, tocut the
facing eight inches deep and to fit it exactly. Then
seam the skirt and facing's lower edges together on the
inside and turn. The upper edge of the facing should
be cut in fine notches and just below them stitch it
down on the skirt lining. Then finish the smooth
edge with the customary braid.

Always use the best braid, it receives the hardest
usage of any portion of the skirt. It should be dipped
in water and allowed to thoroughly dry before it is
stitched on the skirt. Otherwise, even the "warranted
not to shrink" braid will draw up on the skirt founda-
tion.

The above directions are ample for finishing the bot-
tom of a skirt when you have it cut over a perfect pat-
tern and the padding is used. When a skirt design is
used that has not the proper spring given its gores, other
resources must be called upon. Every woman knows
how disagreeable it is to walk, when at every step the
foot is pulled back by the skirt. This is obviated by

HOll' TO MAKE DRESS SK/RTS 35

twice slashing for four inches the foot of the skirt's
front-gore and covering the slashes with pleating.

Some dainty imported dresses for wear in the house
are not bound with braid, but are simply faced with
silk. Attached to this facing inside the skirt is a
pinked frill of silk instead of the»lace balayeuse some-
times formerly employed.

To protect the extreme lower edges of skirts which
are of extra length, many expedients are resorted
to. At the shops many new"protectors" are found and
at once recall those used for a similar purpose some years
ago. The new ones, of course, have the advantage of all
the improvements of progression. Several kinds are of
buckram, which is widely bound with rubber cloth and
either pleated to a binding which curves the protector to
the shape of the train, or is sewed to a j^oke-like piece
shaped like the bottom of the skirt at the back. These
protectors extend across the sweep of the skirt only.
Others, however, are in the nature of a facing. The fac-
ing material is a strip of blacksilesia orserge, and is long
enough to pass completely round the skirt foundation.
For a sufficient distance to extend around the sweep
at the back this facing is again faced with a stirp of
rubber cloth securely stitched on, and as this comes
next the surface on which one is walking, it prevents
the edges of the skirt and its foundation becoming
worn, soiled or damp.

A braid is .also supplied which has a rubber strip
Stitched to it for a sufficient portion of its length to

JJOIF TO MAKE DRESS SKIJRTS

protect the sweep of the skirt ; and folded rubber strips,
which look like pipings, are made to extend entirely
round the skirt and are very satisfactory in the capac-
ity of protector. Most of these protectors may be found
in gray, brown and black.

When the lower edge of
the foundation skirt is
completed, it should also
be finished at the top be-
fore its draperies are ad
justed. A placket-opening
must be provided either at
the back or at one side.
This is done by making an
opening either in a seam or
by cutting the material the
depth of ten inches from the
top. Face the upper or
INSIDE OF FINISHED SKIRT Overlapping side with a
two-inch-widestrip of the material of the draperies. Then
sew in a seam to the opposite side a double flap of the
same material and let it extend under the faced side,
tacking it fast at its lower end to the opposite facing.
A pocket should then be put in along the second
right-side seam. It may be made of either silk or siiesia
and must be faced with the material of the dress each
side of its opening.

When these preliminaries are completed the entire
skirt must be most thoroughly pressed on the long skirt
board with a hot iron.

HOW TO MAKE DRESS SKIRTS 37

The adjustment of the foundation skirt, about the
hips of a small woman is comparatively a simple
matter. The darts in the front and in the side-gores
are stitched and the fulness at the back is held in
gathers.

The band of the required size ma)' be added in one
of two ways. First, the edge of the band may be
basted on the under or wrong side of the skirt, tacking
the middle of the band to the middle of the front and the
tops of the seams on either side at corresponding dis-
tances on the band. Then tr}' on the skirt, and satisfy
yourself that it hangs perfectly even and easy. The re-
mainder of the work will be done on the machine,
which is difficult to rip, consequently all changes
should be made now. When satisfied, stitch the band
and the upper edge of the skirt together. Then turn
over the band with the seam inside and stitch it down
on the skirt. This process does away with all hand
sewing and is a very neat finish.

The second manner of finishing the top of the skirt
with a band, is to first make the band of the required
size. (A piece of belting may be used.) Then turn
under the edge of the skirt a quarter of an inch, secur-
ing it with a running stitch. Then tack the middle of
the front and the seams to the band in their respective
positions and lay the fulness of the back in pleats or
gathers. After which fell the band to the skirt edge by
hand with a strong thread.

HOW TO MAKE DRESS SKIRTS

To sew the gathered portion to
the belt, see illustration. The
portions sewed to the belt, with a
close over-casting stitch, are the
stitches of the gathering them-
selves, the intervals between them

Sewing Skirt Gathers Supplying the deep pleatS which

are secured in place by a row of strong stitches
about one-half inch below the line of gathering.
When there is a great deal of material to gather into
a small compass, the gathering stitch has to be dis-
carded, the intervals between the stitches being too
wide to sew across. Then the material is evenly
pleated up and sewed as pleated to the belt, shown in
the uncompleted portion. The advantage of this gath-
ering over real pleats is that the gathered pleats are
upright, and the material below hangs freely, while
pleats are sewed flatly into the belt and confine the
material more.

For stouter women a skirt band mars the fit of the
bodice worn over it, and it is a good practice to face
the entire top of the skirt, gathering the fulness of the
back on tapes and so use no band at all.

SKIRT DRAPERIES

Before the draperies are added, the best skirts are
given a pleating of the dress material. This pleating
should be five or six inches wide and should be stitched
fast to the upper side of the foundation skirt.

HOW TO MAKE DRESS SKIRTS

The draperies of skirts are so varied and often so
complex, according as fashion dictates, only general-
ities can be considered in this work.

It requires great skill to cut skirt draperies without a
pattern. Only experienced dressmakers should attempt
it. To do so generally results in much worry and a
waste of material. When it is attempted, the draper-
ies should be first cut in soft paper or some cheap
cloth, and this used as a guide in cutting the more
expensive dress fabric.

When the draperies are cut, stitch all the breadths
together and press the seams. Then turn up the lower
edge in a medium sized hem. For bordered materials,
silk and cotton fabrics, it is best to secure this hem
with a fine blind stitching, but cloths and suitings
may often be enhanced by machine stitching the hem.
Unless the material is heavy and firm in quality it Is
best to stiffen this hem with crinoline before stitching.

The edge of draperies are of-
ten best finished by a false hem
of the foundation material, (C)
about six inches wide, (B) after
having overcast an interlining
muslin (A) to the lower edge of
the skirt. The false hem being
finished as illustrated, place
A FALSE HEM ^raid at the lower edge, not in

the ordinary binding style, doubled in half and conceal-

40 HOJV TO MAKE DRESS SKIRTS

ing the whole edge, but sewed inside the skirt and left
quite fiat.

For cloths and other heavy woolens the tailor hem
makes the neatest finish.

The stitches of the tailor hem are invisible from the
right side. Thin paste is employed to make the halves
of the hem adhere together, and to facilitate flattening
in with the iron. Three inches from the edge tack a
straight line which is to be the edge of the skirt. Have
the paste and a hot iron at hand. Apply the paste
inside with a brvish, not too thickly, where the hem is
to bend over, on the three inches below the tacking.
As you paste, turn over the hem at the tacking, and
iron it flat and smooth. Tack down the hem for greater
safety, and then hem it invisibly, passing the needle
only half through the cloth, so that no vestige of the
stitch appears on the right side. Now remove the tack-
ing and iron a second time. Your hem in spite of the
thickness of the cloth, should be perfectly fiat, and
beautifully smooth and even. Sew with silk of the
cloth color, not cotton. The silk must be strong and
of excellent quality, as the constant damping necessary
in tailoring injures the color of cheap silk, which is
also not strong enough to hem and stitch thick cloth.

When a skirt or tunic is edged with one or more rows
of stitching, the tailor hem is not necessary, although
the pasting and ironing are advisable before the hem
is put under the machine to be stitched.

When this hem has been carefully pressed, turn

no IF TO MAKE DRESS SKIRTS 41

under half an inch at the top of the draperies and fell
them into place on the foundation skirt, at the waist.
Cover this edge with a fiat galloon or braid.

Now comes into use the skirt stand. It is as neces-
sary as the sewing machine; it is a comfort and a con-
venience ; it facilitates the work and much better results
can be produced by arranging the draperies and sew-
ing them into place while the foundation skirt is on the
stand. Draping is too changeable in style to be treated
at length here. It is ornamental and must be an expres-
sion of the existing fashion and the taste of the wearer.

To finish the skirt, along the belt, tack on two braid
loops by which to hang up the skirt. Use two hooks
and eyes to close the waistband and add two large
hooks to correspond with two large eyes placed on the
bodice at the waist-line to join the two.

THE KILT SKIRT

The kilt skirt is but a variety of the draped skirt.
It is made with a foundation as is the gored skirt.
The same proportions prevail as are mentioned for it.
The kilted or pleated portion, is not difficult to adjust
if two simple rules are strictly followed. These rules
are first, the outer edge of each pleat must be folded
its entire length along the straight thread of tlie cloth ;
second, each pleat must be laid to hang in a straight
line from the waist to the bottom of the skirt.

At first glance many women would declare this to
be impossible but it is not. The easiest way to accom-
plish these results is to make the foundation skirt as

42 I/OJy TO MAKE DRESS SKIRTS

directed in the preceeding pages. Finish it complete
with an upper facing of the dress material and the usual
under-facing, braid and waistband. Then put it on
the skirt stand. Prepare the straight breadths to be
kilted by sewing and pressing the seams, joining the
breadths and finishing the lower edge with a hem,
machine or blind stitched. Enough breadths muSt be
provided to make the portion to be pleated three times
as wide as the bottom of the foundation skirt. Then
divide the breadths at the hem into spaces of about
five inches and crease the goods the length of the
skirt each five inches apart. This crease will be the
outside fold of the pleat. These creases may be basted
with a thread their entire length.

Pin all the pleats into position round the bottom of
the foundation skirt and draw the creased edge of each
up to the waist-line, so it is in straight line and the
extra width will arrange itself into an easy graceful pleat
underneath. When this has been done all around the
skirt baste the pleats securely and remove the kilted
drapery. Press it on the under side. Then take tape of
medium width and tack one length to the under crease
of the pleats about nine inches below the waist-line
and another about eighteen inches above the bottom.
The pressing and tapes will hold the pleats in posi-
tion permanently. When it has been done, again put
it on the skirt stand over the foundation skirt and fell
it on to the latter, at the waist-line.

Tf any ornamentation of stitching, braid or embroid-

HOW TO MAKE DRESS SKIRTS 43

ery is given the skirt, it must be done before the
pleats are laid.

For some kilt skirts the foundation skirt is omitted
but they can not be made to wear satisfactorily or to
look so well even in the beginning. An ordinary skirt
braid tacked on flat to the under-side of the pleated
portion, so that its edge extends only just below the
hem will protect the edge of that hem.

TRAINED SKIRTS

A pattern must be provided when a trained skirt is
to be made and when it has been cut, the making is
an art in itself. It must be lined with a material to
correspond with the fabric employed for the trained
skirt. That is with silk of a contrasting or harmon-
izing color. Nothing but the neatest finish of the
under-side of a trained skirt will be satisfactory, as it
is liable to become visible at any moment.

For trains made of heav}' silk or woolen materials,
no extra stiffening is required, but for soft silks, soft
crinoline may be used as an interlining to give it the
requisite body. However, it should be used with the
greatest discrimination, as the soft train is in the best
taste and an undesirable stringiness is all we wish to
avoid.

Tapes must be adjusted on the under-side to draw the
front and sides back into their proper places, as well as
to hold the fulness of tlie back together. Our illus-
tation on page 36 shows this finish.

HO IV TO MAKE DRESS SKIRTS

THE BALAYEUSE

The balayeiise is a flounce sewed under the edge of the
skirt, instead of above it. It can be sewed to the skirt
itself, or to a band which is then sewed to the skirt.

A little time ago the
white halayeiise was uni-
versally worn indoors,
but of late this has been
superseded by the
flounce of taffeta or any
soft silk, cut on the
straight or the cross, and
TO MAKE THE BALAYEUSE pleated or gathered on

to the hem. Dressmakers should learn how to set a
balayeusc well, as it is never entirely put aside, and has
lengthened periods of great popularity.

REEDS

Extenders, or bustles come and go at Fashion's
pleasure. There are ladies, however, who are very
flat in the back below the waist-line and it is an improve-
ment for them to always use one reed or steel in the
skirt about ten inches below the waist-line. A casing
must then be run as indicated by A, B, (See illustra-
tion page 30, ) through which the reed is passed. At its
ends on either side a tape must be fastened and when
tied the reed is distended and the back drawn together.
Trained skirts seldom require this reed.

There are a few most important points it seems well

HOW TO MAKE DRESS SKIRTS 45

to recall more briefly, in order to fix them more firmly
in the mind.

I St, that you should pin or tack together the breadths
of the skirt, at the top, before you begin, that you may
not chance to put in more gores on one side than the
other (if there are gores), or find that the back-breadth
comes to one side.

2d, that you should, while thus arranging the breadths,
look very carefully that no one is turned wrong s ide
out, if there are two sides ; or, if figured, with the pat-
tern upside down,

3d, that, as the uppermost edge takes up the most,
as your work lies over your finger, and as the cut edge
stretches more than the selvage, you should, pin from
top to bottom, before you begin to join them, the
breadth on which you are employed. This is the only
sure way of avoiding puckering.

4th, that you should, as often as possible, begin your
run at the top, that, if there is any left over, it may
go off at the bottom, where it is of the least conse-
quence. You can do this in every case but when you
have to join a cut edge and a selvage, and then you
must begin at the bottom, in order to have the selvage
uppermost.

5th, that you must remem.ber that gored skirts hang
lower at the bottom of the gores than either before or
behind, and that the first turning in of the hem should
be, therefore, laid rather deeper at the sides of the
skirt.

46 MO IV TO MAKE D^E.^S SKIRTS

6th, that you should make your fastenings so good
that the dress may wear out before they give way.
This is particularly important with regard to the pocket-
holes and the placket opening, which should be well
secured by stitching, or a bar at the turn. It is very
trying to a lady to find her skirt slit down behind, the
first time she slips her gown over her head, or her
pocket-hole give wa}' before she has put her hand into
it half a dozen times.

CHAPTER IV
HOW TO MAKE A BASQUE

AN ORDINARY BASQUE THF, PATTERN FIRST STEP IN MAK-
ING— BASTING THE LINING FITTING THE LINING — FIT-
TING THE BASQUE CUTTING OUT STRIPES AND PLAIDS

STITCHING SEAMS — FINISHING SEAMS — PRESSING SEAMS —
FINISHING CLOSING EDGES.

AN ORDINARY BASQUE

The best advice to be offered a beginner in dress-
making is to practice on round waists. Thej' are not
so difficult to fit. The proper adjustment of darts and
seams extending only to the waist-line, is not perplex-
ing. The proper cutting and fitting of its collar and
sleeves need not drive her to desperation. However,
in this instance time and space will not be devoted
to them alone as the hints on basques properly include
round waists.

THE PATTERN

Few ladies have the time or inclination to learn a
good system of dress cutting, consequently they must
depend usually upon patterns of greater or less excel-

48 HO]V TO MAKE A BASQUE

ence. A very good pattern ma}' be secured by going to a
first-class dressmaker and having a basque cut, insisting
upon a perfect fit. This may cost $5, but the pattern
you may cut from it will cost only a little care.

Again there are plenty of teachers of systems who
will cut and fit a lining which will ever after serve
as a pattern. However, there are many sewers who
can not afford to pursue this course and for them there
are the tissue paper patterns. These are cut to fit
perfect forms and but few women possess them. The
same difficulty appears when marked waist linings are
used. These linings may be purchased by the 3'ard,
on which is traced the entire waist and it can soon be
cut out and basted together and alterations made in it.
If the latter are numerous, when a perfect fit has been
obtained, cut a pattern from it for future use and cut
a new lining.

THE FIRST STEP IN MAKING

The first step in making a basque is to lay out the
lining smooth on the table. On this lay the pattern.
An economical cutter will lay out the entire pattern
before cutting one piece. In laying on the pattern the
grain of the cloth must be carefully considered. The
perfect fit of the basque, sleeve, or collar depends
greatly upon the weave being just as indicated by the
pattern. Never attempt to economize by twisting the
pattern into spaces to fit the piece of lining.

How TO MAKE A BASQUE 49

HOW TO LAY ON A BASQUE PATTERN

50 HOW TO MAKE A BASQUE

The preceding illustration gives the best manner of
laying a basque pattern on the cloth, forty inches wide.
Pin each piece securely in position as soon as they are
all arranged. Then with the sharp shears cut them out
with perfectl}' smooth edges. Mark with a pencil any
perforations or notches in the pattern.

When this lining has been cut out, the next step
is to carefully baste the pieces together, as the mate-
rial of the dress proper should not be cut until the lining
has been carefully and perfectly fitted.

BASTING THE LINING

Basting is the foundation of good dressmaking. Its
importance can not be too highly appreciated. Prob-
ably only one dressmaker in ten can baste a basque
properly. The first rule is, do not be afraid of stitches.
Run a basting thread along the waist-line of each piece,
first. In joining the different parts of the basque — of
which there are generally eight — always begin to baste at
the waist-line. This will prevent the the basque from
being lop-sided. First join the sidebody to the back.
Begin at the waist-line and sew down and again sew
from the waist up. Be very careful in handling the
sidebody not to stretch its edges. Join the under-arm
gore to the front by beginning again at the waist-line
and basting first down and then up. Join the side-
body and under-arm gore, proceeding in the same man-
ner.

The curves of the darts in the front of a basque in

HOW TO MAKE A BASQUE 51

themselves show the artist, therefore, when you have a
pattern 3'ou will use at all, adhere closel}' to the lines
indicating the darts. If it is necessary to make alter-
ations to secure a perfect fit make them in some seam,
never change the darts. The darts should be joined at
the waist-line and basted down and then up as are the
seams.

Join the backs together in the same manner and then
close the shoulder seams. Fasten all basting threads
tight enough to stand fitting. Before fitting if the
lining does not seem entirely firm run a basting thread
along the edges of the neck and armseyes.

FITTING THE LINING

Now you are ready for the fitting. Much depends
upon the manner of underclothes worn. Some women
wear such shocking underwear, misfitted corsets and
so many knots and bunches of gathers, no one could
make the modern dress fit over them. Well fitted cor-
sets, a smooth vest or corset-cover will greatly assist
in a perfect fit.

Put on the basted basque with the edges of the seams
outside, pinning the fronts together, not over each other.
The novice in fitting must not grow wearied easily.
She will probably have to put on and take off the gar-
ment eight or ten times.

There are several sacred seams of a basque in which
alterations should never be made. First the darts
should never be touched and second the seams joining

52 HOJV TO MAKE A BASQUE

the sidebodies to the back. These in a good pattern
are given perfect curves and to change them a hair's
breadth is fatal to the gracefulness of the basque. Some
dressm.akers hold the same regarding the middle-back
seam. Unless the form to be fitted is unusually abnor-
mal, all alterations can be made in the under-arm and
shoulder seams. The curve of the fronts may also be
made to conform to the figure's outlines.

When the basque is pinned on, if there are wrinkles,
work them out into the shoulder and under-arm seams
if possible. If the back wrinkles between the should-
ers, it is too long. Loosen the shoulder seams and
take up the length there. If it wrinkles at the waist
loosen part of the under-arm seam and let them escape
there. Wrinkles also come from an insufficiency of
notches. Have plenty along the sides of the seams at
the waist-line and cut them as deep as possible with-
out cutting the threads of the stitching.

When the figure fitted is slightly stooped or round
shouldered, which often occurs, the curves at the top
of the back pieces must be omitted and the neck there
be cut straight across to prevent the collar drawing
out from the neck. In such case the curve of the
fronts around the arm must be altered to allow a free-
dom for the arm.

In fitting the lining allow it to be at least one-half
inch too long at the waist-line. This may be laid in
a pleat while it alone is being fitted but must be
arranged in fine gathers along the seams when the lin-

HO IV TO MAKE A BASQUE 53

ing is laid on the dress fabric, as is shown by fine lines
in the space between T and B, shown in the illustra-
tion on page 54.

Alterations should be made with the utmost care.
Very often the shape and style are ruined in making
them. Remember that in taking in a seam, an-eighth of
an inch is frequently sufficient whereas if a half inch is
made new troubles are produced. Patience must be
used to strike that happy medium of correction that
lies between perfectness and utter ruin.

FITTING THE BASQUE

When the lining has been fitted, trim off even all
edges of one-half of it, before taking out the bastings.
Then rip the entire basque apart and cut the second
half to exactly correspond with the first or trimmed
half. It is exceedingly risky to fit and trim either side
independently of the other.

There are very few forms but require some padding
into perfect shape. Perhaps it is onl}' a little over the
bust, perhaps a hoUowness under the arms or over the
collarbones must be filled in. Wherever it is required
to give a smooth surface, baste cotton-batting into place
on the lining, with its edges uneven, before the lining
is laid on the outside dress material.

Afterward lay each piece of the lining on the out-
side with the cotton-batting between. It will be found
economical to lay all the lining pieces on before bast-
ting or cutting any one portion. In laying the lining
on the outside material attention must be given to the

HOW TO MAKE A BASQUE

grain of the cloth. The threads of the lengthwise
weave of one should correspond exactly with those of
the other. If this is not done the bodice is likely to
twist to one side or the other.

When this has been done, run a thread basting them
together at the waist, the line marked L. in the illus-
tration. Then ran a line of basting from the top of
each front dart straight to the lower edge of the basque,
holding in the extra length of the lining in fine gathers.

SHOWING GATHERS IN LINING

There are tricks in basting the lining and dress fab-
ric together peculiar to different workers, all agree, how-
ever, in basting tailor-fashion on the table, because it
is the simplest. Stitch the dress goods well and baste
through the dotted lines, keeping the lining easy all
over but not full any place except between the lines T
and B. This easy allowance provides for the strain in
wearing.

no IV TO MAKE A BASQUE 55

To baste the front, run first the basting line down
the middle of the darts, then along the lines T and B.
From the line B to the bottom of the basque, pin the
lining straight but do not stretch it. In basting the
remainder of the fronts follow the dotted lines to the
hair's width, making the stitch short on the dress fab-
ric and long on the lining. Be careful in taking up the
fulness between the lines T and B not to pleat it down.
It must be equally divided and taken up more as gathers
or shirring than as pleats. It is usual to have a little
more of this fulness above the line L than below it. The
space between T and B should be about three inches.

The same rules should prevail for the other portions.
The material for the sidebodies should not be stretched
as it is partially bias and if pulled, will wrinkle when
made up.

When all the lining pieces have been basted onto
the outside, carefully cut them out of the cloth with
even edges.

That done, baste, using No. 60 cotton. Baste close
and baste on the table — never in your lap. Many
women, and among that number are those who profess
to understand the business, baste over their fingers.
The result is ruinous, for that makes the upper piece
shorter than the under and the garment becomes lop-
sided. To repeat former advice, don't sew anything
over your finger.

In joining the six gores of the basque together, remem-
ber to begin all the basting at the waist-line and sew

56 HOW TO MAKE A BASQUE

down to the bottom, and then return to the waist-line
and baste to the top. This will prevent the garment
from being lop-sided. In a basque properly made the
basting of all seams will run just inside or just out-
side the line of stitching. This avoids the possibility
of catching the basting thread in the stitching and of
breaking the thread used in stitching when the bast-
ings are drawn out. Start with the front-gore, pin
the darts together at the waist-line and baste down to
the bottom ; then, beginning at the top, baste down to
the waist-line.

Join the under-arm to the front by pinning the waist-
lines together ; begin at this place and baste in the
basting threads, sewing down first. Then commence
again at the waist-line and sew up, stretching the under-
arm a trifle at the waist.

Join the sidebody to the back, beginning at the waist-
line, sewing down, and again from the waist up. Be
very careful in handling these gores not to stretch che
edges.

Next join the sidebody and under-arm by pinning
the waist-lines together, keeping the edges even and
basting the traced line, sewing down and then from
the waist up. Fasten the basting stitches strong enough
to hold for a fitting.

Try the basque on and if no alteration is necessary
and there should be none if the lining is properly
fitted, you are ready to stitch the seams.

HO IV TO MAKE A BASQUE

CUTTING OUT PLAIDS AND STRIPES

When cutting a bodice from striped or plaid mate-
rial it requires a great nicety of adjustment to get the
different parts to fit neatly and properly together. There
are several rules which must be followed exactly or
the bodice will be absolutely unpresentable. First the
stripes or plaids must exactly correspond on either
side of the middle-back seam and on either side of the
front closing.

M^ m m

TO CUT PLAID GOODS

They may be cut on the bias of the goods or in the
usual straight up and down manner, but where they
come together their lines must exactly match. To do
this only requires care and attention. The lining must

58 HO IV TO MAKE A BASQUE

be exactly fitted and the seams distinctly marked
upon it. Then lay each piece of lining upon the fab-
ric and see that the lines of one piece of the back
exactly correspond with the lines of the opposite
piece, when they are laid with their right sides upon
each other.

Our illustration indicates as nearly as we can the
manner of laying one-half the lining pieces on a plaid
material. The other half must correspond.

In the fitting the lining the exact waist-line should
be indicated by a creased line in each portion. In lay-
ing the portions on the cloth one line of the plaid is
followed by this crease. In this instance it is the white
line just below A B.

First lay the back lining on the fabric with its waist
line just below A B. Baste it in place all around.
Then lay the sidebody with its creased line just below
A B also, taking care that the top of the armseye cor-
responds with the part of the back's armseye, which
reaches lines E F.

Perhaps at first the curves of the back and side-back
will not exactly correspond but the fabric may be
turned and even slightly twisted on to the lining until
they fit together exactly. When this has been carefully
adjusted, the under-arm piece of the lining is laid on
the fabric with its creased waist-line also just below
line A B. The line C D must also come in the same
position for it as that line does for the sidebod}-.

Place the front on the fabric so the cross stripes

HOW TO MAKE A BASQUE 59

correspond with those of the under-arm piece at the
waist and armseye lines. The stripe down the front
must also be taken into consideration.

It looks best of course, to have this stripe curve par-
allel with the front closing line but with full busts
this is impossible. However, for ladies of moderate
development the stripe may be curved sufficiently
without injuring the fit of the bodice.

By following these directions the plaid will match
exactly excepting at the darts, under-arm and shoulder
seams.

In cutting a bodice from striped material the work

is less difficult. Still great care must be taken to
have the lines match in the middle-back seam and
the sidebodies fit into the curved back seam with the
stripes hitting exactly. The stripes down the front
closing should be curved as suggested above, in every
possible instance. If the .lining is properly fitted the
twisting effect will all disappear in the dart seams.
It is best where it is possible, to have a stripe to run
down between the darts. It looks better than if only
one side of the stripe is shown. By keeping the darts
nearly the same size, the bias effect often seen in the
second dart back will be overcome.

STITCHING SEAMS

The seams of the basque must be stitched in abso-
lutely straight lines ; wavering, irregular machine work
will ruin the otherwise perfect fit. In stitching the
curved seams joining the side-back and back portions,

6o HOW TO MAKE A BASQUE

always nave the back underneath and the side-back next
the "presser-foot, " and it is well to hold the piece well
up at each end of the "presser-foot," otherwise the side-
back is likely to pucker in the sewing. When stitching
the shoulder seams, have the front above and the back
beneath as, if there is any difference, the front should
be stretched on to the back.

Leave the shoulder and under-arm seams until the
last to be stitched. The front closing should be finished
before. The garment may require a slight loosening or
tightening at these seams before the collar and sleeves
are added ; it is much easier to make such changes
before the}' are machine sewed. Beside such altera-
tions leave marks which can not always be removed,
especially from silken fabrics.

FINISHING SEAMS

Finishing the seams of a basque is a matter of time
and taste. Although the modern dressmaker is good
enough to embellish them with bright ribbons, the
busy woman will find that turning in and running the
edges will make quite as neat a seam, wear just as well,
take less time and answer every purpose. If the mate-
lial used is cloth, silk or any other fabric that will not
ravel, the edges can be notched or pinked, a finish
popular with tailors. In thin or wash fabrics the
French fell is used for most seams. This finish is
made by placing the wrong sides of the parts together
and stitching them in a narrow seam. Then when the
edges have been pared oft even, turn the parts at the

HO IV TO MAKE A BASQUE 6i

seam, so that the right sides are together and make
another seam. This leaves all the raw edges turned
in and firmly sewed.

Another way of finishing such fabrics is to make the
ordinary quarter-inch seam, but at the same time sew
in a narrow bias binding-strip of the goods. When
the seam is made, pare it down closely, turn the binding
strip over it, and also turn under the loose edge of
the strip and fell it down along the seaming. In gar-
ments made of partly embroidered fabrics this binding
process is used along the seamed embroidered edges,
even where a French fell is made along the plain
edges ; because it is almost impossible to make a suc-
cessful French fell along an embroidered edge.

PRESSING SEAMS

After the basque is stitched and the seams finished,
it must be pressed, not a little, nor in spots, nor with
a cold iron, but all over, with strength and with irons
as hot as can be used without burning. Tailors are
adepts in the use of the goose, the needle and the
shears and should be regarded as the home dressmak-
er's models. If you follow their example, you will take
a press cloth of clean muslin, dampen it, (if the dress
fabric is woolen) will lay it along each seam in turn
and press until the cloth is perfectly dry. Afterward
press the bare seam, running the iron under the edge
to prevent outlines on the outside.

The shoulder and dart seams are also treated in this

62 HO IV TO MAKE A BASQUE

manner, the greatest care being taken to retain their
desirable curves. When all is done the basque should
be tried on and should fit without a wrinkle, absolutely
smooth. The bones which are added later are used
only to make permanent that smoothness.

FINISHING CLOSING EDGES

The closing edges of a basque are finished either for
buttons or hooks and eyes or for lacing. In each
instance a special finish must be used.

When the closing of the edges is to be effected by
buttons, the left side must have its curved edge finished
by a deep facing. This should be a quarter-inch wider
than the size of the button-holes, and it should not
be cut bias but show the same grain of cloth as
the basque edge. The facing should be turned and
basted over evenly and hemmed down on the wrong
side. The right closing edge should be cut an inch
wider so as to extend under the button-holes when the
basque is closed. A tape stay should be stitched on
the under side along the line for the buttons.

When hooks and eyes are employed for closing, both
edges should be finished as described above for the
left side, only the hooks and eyes should be sewed on
so as to just touch the outer edges and a neat facing
then sewed on over them, to finish.

Thousands of nicely drafted basques are spoiled
because the fronts are uneven. They will measure the
same, but the hooks and eyes not being opposite, the

HOW TO MAKE A BASQUE 63

collar is made crooked, the dress gaps and the whole
waist is unbalanced. It is not an exaggeration to say
that not one woman in fifty can button a dress prop-
erl}^ and not one in twenty can sew hooks and e3'es
directly opposite each other. There is no trick about it,
it is simply a matter of correct measurement. Use a
piece of chalk or a colored pencil and mark off each side
at regular intervals with an inch measure. If the waist
is pinned down so that it will not slip, the spacing can-
not be inaccurate. These are some of the little points
in the finishing of a dress that are so perplexing and
on which so much of the style depends. An extra
facing of the cloth of the basque must be added. It
is attached to the right side and should be wide enough
to extend well under the line of closing.

When a cord lacing is used the edges are finished as
for hooks and e3^es, except that eyelets are worked
instead. The same care must be taken to have the
eyelets even and opposite. The extra facing should be
attached on the right side and extend under the lacing.

CHAPTER V
HOW TO MAKE A BASQUE

(Continued)

BONING A BASQUE SCALE FOR PLACING THE BONES FIN-
ISHING EDGES TO FINISH A TAILOR GARMENT LEAD

WEIGHTS

BONING A BASQUE

The boning of a bodice is a particular matter and a
tedious one as well. Few dresses are properly boned.
Some good rules followed, remedy all mistakes usually
made, and when the work is properly done the bones
or stays add a great deal to the beautj^ of any bodice.

They are generally added before the collar and alwa3's
before the sleeves are attached. A bodice is likely to be
twisted and handled a good deal in inserting the stays
and that is the best reason why the work should be
done as soon as the seams are otherwise finished and
before facings, collar or sleeves are added.

Covered steels and whalebones in casings are the

stays in vogue. There is a great deal of difference in

the varieties of each to be purchased. The best will

be found the cheapest in the end and it is pretty gen-

IfOJF TO MAKE A BASQUE 65

erally conceded that the old-fashioned whalebone can
not be excelled for either wear or grace. Before using
whalebones they should be soaked in hot water for a
couple of hours. This process makes them pliable
and easily cut and pierced. They also need shaping
and this can then be readily done. A moment's thought
will reveal the presence of curves described by the
lines of the figure. It will also reveal the absurdity
of putting straight bones or steels in a garment intend-
ed to follow these exquisitely curving lines. To be
sure, being flexible, they will to a certain extent shape
themselves to the figure, but not accurately. They
must be shaped beforehand. In other words, the stays
are a part of the garment and the garment must be
given the fit ; it must make the figure whether the
woman is shapely or shapeless. You should see the fit
in the basque before it is put on.

Consequently, when the whalebone has been soaked
and cut the right length, it must be curved with a hot
iron, to follow the seam. For some seams when they
run on bias lines, it is not always possible to get the nice
curve with wide bones and they must be whittled down.
This should not be done with a knife or shears, they are
likely to split the bone which if good is very fibrous ;
but a piece of ordinary glass should be used and with
its sharp edges the bone can be neatly shaved into
shape very rapidly. There should also be bored or
punched holes in the bone in three or four places to

66 HOW TO MAKE A BASQUE

sew through, those at each end being most import-
ant.

When steels are used they always come covered and
are easily bent into the proper curves.

When bones or bare steels are used, it is necessary
to stitch along each seam casings in which they can be
inserted. Whatever is used for these casings they
must be fulled on almost in gathers. Galloons may be
purchased for these casings, which answer every pur-
pose, and are neat in appearance ; however, hemmed
muslin or silk like the lining used, makes very good
casings. Full them on by hand, stitching them close
on each side over the seam. The casings full and the
bones tight will straighten the seams of any bodice and
defy wrinkles at the waist. In sewing bias strips of
lining to the seams for casings several methods may be
employed, one or two of the best being here given. Cut
the strips just wide enough so that- when they are
sewed on they will tightly hold the bones or stays.
One plan is to turn under the edges far enough to
make the casing of the desired width, and then crease
it through the center so that the latter may easily be
made to follow the seam ; then fell or neatly run the
sides of the casings to position, or, with fancy silk,
catch-stitch them in place. The latter method produces
a very neat effect. Or, after the casing has been folded
and creased, run it along the crease at one side, and
turn it over the seam and fell it down on • the other
side, taking care to keep the center over the seam.

HO IV TO MAKE A BASQUE 67

Where a casing is bias there will be no necessity for
putting it on very full, as in the straight casings when
galloon is used because it will give with the seam and
for that reason will neither bind nor draw it.

SCALE FOR PLACING BONES

Here is a scale for the correct placing of bones.
The one up the back seam is not necessarj*. In the
side seams let the bone run up four and a half inches
above the waist-line and two inches below ; the bones
under the arm must not come nearer than two inches of
the sleeve. In the darts have the bone end one inch
below the casing. Run the bone to the bottom of the
basque and tack it by sewing through at five different
places above the waist-line and two places below. Of
these seven sewings have two one-half an inch on either
side of the belt. At the top of the casings tack the bone in
place, half an inch or so below, so as to prevent it
breaking or pushing through. If properly soaked there
will be no difhculty in sewing though the bone, and
it is this sewing that will support the figure and sus-
tain the shape of the bodice.

If hooks and eyes are used, bone both front closings.
Run a stitching along the edges the width of the
bone and insert the bone between the linings, having
it as high as the darts and extending down to the
bottom oi the facing.

As before stated, if properl}^ cut any waist will fit if
abundantly and tightly boned. The bone must be

68 HO IV TO MAKE A BASQUE

whole to afford the pliability desired and must be
securely fastened by strong sewing.

There is a use to which steel stays are rarely put, but one
which deserves general adoption in finishing low-necked
or evening waists having no seam at the center of the
front and, also those whose upper edges do not closely
enough follow the figure of the wearer at the center
of the top. The waist is boned in the usual manner,
except that no bones or sta3's are added to the front
darts, as their addition is liable to produce a bulging
effect where the other stays join. The waist between
these darts is held smoothly to the figure by this new
arrangement of steel stays. Two stays, long enough to
extend from the point at the lower edge of the front
to a little more than half-way to the tops of the
darts, have their adjacent edges fastened together at
the point, and are spread so that they will extend to
the dart and are felled to position on the lining after
the latter is well stretched under them. Two other
stays are joined to the upper ends of the lower stays
and are felled to the waist-lining and reach the top of
the waist about an inch from the center at each side,
where they are firmly secured to a short stay extend-
ing along the top of the waist over the space between
the front darts. The top of the waist is turned down
over this short stay, from which the covering may be
removed, and an extra facing is added to give a neat
and firm finish. It will be at once understood that a
waist thus fortified will present a close, smooth effect

HOW TO MAKE A BASQUE

and at the same time secure for the wearer that peace
of mind which comes with tlie consciousness that her
waist will follow the outlines of her figure as closely
when she is seated as when she is standing. Whale-
bone may be used for the diamond-shaped arrangement
of the stays in place of steel, but for the cross-piece
at the top a steel stay is decidedly preferable, though
whalebone will serve the purpose fairly well if bent
after being heated in water.

MODE OF FASTENING IN A WHALEBONE

Our illustation shows two modes of fastening in
whalebones. The fan-shaped mode is used in prefer-
ence for stays. A hole is bored in a piece of whale-
bone with a strong bodkin, previously to- slipping it in
and the stitches are put in so as to form a fan both on
the right and on the wrong side. The cotton or silk
used must be thick and of excellent quality.

The other mode is also used. The whalebone is
not bored, and the stitches take just as much material
on the right side as will insure their firmness, but no
more, for they must be as little seen as possible, the
long sitches being all on the wrong side.

70 HOW TO MAKE A BASQUE

FINISHING EDGES

The lower edge of a basque should always be given
a silk facing, cut bias. It is absolutely necessary to
provide silk, no matter what the material of the gar-
ment, for facing the bottom of a basque and to line its
collar. Any other goods will produce a clumsy finish.

INSIDE OF A FINISHED BASQUE

When all seams have been sewed, pressed and finished
and the closing edges also completed, the lower edges
of the basque, if it is a plain one, should be turned

HOW TO MAKE A BASQUE 71

over and neatly basted. If a simple machine stitching
is to be given this edge, as is often found desirable, that
should be done and then attach the facing by hand.
Cut the silken the bias and hem it on the bottom holding
it easy. Gather in the fulness of its lower edge rather
than pleat it down. The sewing should be firm rather
than loose as the strain otherwise may break it.

But the facing of the bottom varies in depth with
the length of the basque's skirt. In deeper round
basques the facing should be cut wide enough to reach
the belt, that is five inches wide perhaps. The habit
basque, which is short on the hips, pointed in front
and finished with tails, calls for a special facing, nar-
row all around, with the tails faced to the waist. Cut
the lining on the bias and don't pleat it in any place.
If 5^ou hold it properly it will adjust itself to the
edge of the basque. Silk also for these while not as
durable as farmer's satin, is preferable on account of its
softness.

The sleeves and collar of a basque are treated of at
length in the next chapter, so we will only add here
that the neck and armseye edges should always be fin-
ished by a narrow bias facing or a ribbon binding as
preferred.

TO FINISH A TAILOR GARMENT

It is when we come to the finishing of basques that
tailoring rises to such pre-eminence over ordinary
dressmaking methods. Every means is followed to

72 JIOIV TO MAKE A BASQUE

overcome wrinkles, which will appear in the most per-
fectly fitted dressmaker's garments.

When the seams have been stitched, before touch-
ing the lining, which is tacked to each piece well away
from the seams, there is a great deal to be done. The
seams must be notched where they describe an inward
curve, for each seam must be ironed open and flat.
They must be pressed very smooth and notched well
into the seam until they will la}^ perfectly flat. As
cloth is very stubborn, a very hot and heavy iron must
be banged on the cloth, not merely passed over it. To
facilitate flattening, the cloth may be smeared before
ironing with a piece of dry soap, on the parts where
the notched edges of the seams fold back on the inside
of the bodice. With thick very stubborn cloth the
soap is not sufficient and then tailors use thin paste
of flour and water, which they lightly apply with a small
brush in minute quantities as described for the soap.
With the paste the seam flattens perfectl}-. You will
probably crease the lining in ironing the seams but
as each seam is pressed, iron afterward the two pieces
of lining into place smoothly over each other. When
the bodice is ironed and boned, turn in the edge of the
upper portions of lining, tack each neatly and easily
on the under part, and hem them together, taking care
to sew the lining only, and not to interfere with the
cloth in any way. When all the hems are complete
iron them flat, putting a cloth over each seam, so that
the iron does not make the lining shiny and unsightly.

HO IV TO MAKE A BASQUE 73

Before boning and hemming your seams it would be
advisable to finish the fronts of the basqiie. Our direc-
tions are for a double-breasted corsage, with a row of
buttons up each side, because it requires more finish.
It hooks down the centre of the front, and then
the right front buttons over on the left. There is a
seam down the center of the double-breast or
plastron to render the fit perfect, and the space between
the two rows of buttons must be lined with packing to-
make it as smooth and stiff as a board. Hence it must
fit perfectly. The packing is kept in place by the
buttons on the right, and the button holes on the left,
and its two portions are tacked firmly down the center
over the seam of the plastron. Down this line the
hooks are used.

The basque must be lined with packing, from one
inch of the lower edge to an inch above the waist-line.
It will have to be done in small pieces because no
crease is permissible as the packing follows and accen-
tuates the curvings of the basque, and the pieces must be
securely sewed together when the whole basque has the
packing tacked upon it. You must leave an inch f orturn-
ing, along the edge of the basque and up the edge of
the plastron. Turn this inside over the packing, notch-
ing the edge of the turned-in portion where it shows
any tendency to pull. Tack this edge smoothly, and
stitch it down with two rows of machine stitching.
This will make the basque and plastron beautifully
firm and smooth.

74 HOW TO MAKE A BASQUE

Now you have to line plastron and basque with silk ;
tack pieces of silk in place, very smoothly, and make
a tiny round hole above each hook, so that its tooth
can emerge. The edge must be cut flush with the
machine stitch nearest the edge, on to which it is
closely and neatly hemmed with silk. The lining of the
plastron must be in two pieces, that of the basque at
least in four, as it would be endless trouble to cut the
exact shape in cloth on the cross ; and the edges, left
raw but neatl}' cut, must be hemmed over each other.

INSIDE OF FINISHED TAILOR-MADE BASQUE

When the cloth is adjusted and seamed, the bones
must be inserted, the tapes being sewed to the inside
of the seams. Except the bone in the middle of the back,

MOJV TO MAKE A BASQUE 75

all bones cease at the waist-line, and the upper end cased
in tape is left free from the seam for about an inch to
avoid indicating from outside the exact spot where the
bone ceases. The boning done, hem over your lining
and hem the lower edge over the cloth basque just
above the waist-line so that the belt when sewed care-
fully inside above each bone, conceals where the lining
of the corsage and the cloth lining of the basque meet.
The lining is neatly hemmed over the plastron lining.
Press the finished basque with a very hot iron, cover-
ing the inside with a cloth as above described. This
is a delicate operation, for if you crease them you will
have to replace the packing and do your work over
again. Now sew on the buttons and make the button-
holes, which last is not easy to do well through the two
thicknesses of cloth and packing.

The sleeves are lined like the corsage, independently
of the cloth, and when the sleeves are sewed in, the
upper edge of the lining is neatly hemmed over the
seams before the dress preservers are put in. The
parements are simulated by rows of stitching ; they
button up at the elbow seams, and are stitched, lined
with packing first, and then with hemmed-over cloth,
exactly like the plastron. The collar is similarly made.
The packing and lining are seamed inside the corsage
to the neck. Then the cloth of the collar itself is
drawn over the seam, and is hemmed to the silk lining
of the corsage.

76 JIOIV TO MAKE A BASQUE

CLOSING WORDS

It is customary with French modists, who are so very
successful in making silks and light woolen fabrics, to
use two wide steels of nine or ten inches to hold the
front and back of a basque down. These steels which come
covered with soft white kid, are incased in ribbon and
felled in the dress along the two seams. Although not
very flexible they are wrinkle-proof and hold the waist
down as nothing else will. They were introduced after
the lead weights were retired and they are characteris-
tic of the French system modistes.

Every basque should be provided with an inside
belt secured to every seam (but not to the front darts).
This holds the garment in place on the figure, prevents
drawing up in the back and takes the strain off the
front portions. This belt is best made of the regular
belt ribbon, which ma}^ be purchased in any shop, by
the yard. The best quality has a corded edge. Inside
belts made of lining goods and the material of the
dress stitched together are cheaper, but their clumsi-
ness can not be denied and the ribbon will be found
more economical in the end. They should be finished
to fasten in front with two small hooks and eyes.

LEAD WEIGHTS

When the basque is postillion in shape at the back
or is given long tails of any other description it is
almost absolutely necessary to weight their lower edges
to keep them in place. Nothing is more disfiguring
than to have the lower edge of a basque at the back

HOW TO MAKE A BASQUE 77

or front turned up always after sitting down in it. The
sta)'s used in the fronts of basques usually prevent
this there, but in the back, lead weights will be found
its best remedy. They can be purchased for a song,
of different styles and sizes. They should always be
carefully covered with silk and then slipped under the
facing and securel}^ tacked so they can not get out of
place with wear. Tabs on the sides of basques or
bodices of any style, should be leaded also on figures
where the hips have any tendency to push them up.

CHAPTER VI
SLEEVES AND COLLARS

DRESS SLEEVES MAKING A COAT SLEEVE SEWING IN A

SLEEVE JACKET AND CLOAK SLEEVES STANDING COL-
LARS— TURNED OVER COLLARS — REVERS COLLARS PLAS-
TRONS

DRESS SLEEVES

The proper fitting of a sleeve is almost as intricate
as that of a bodice. Whether the sleeve is fashioned
for a tight, plain arm covering, or is a voluminous,
ornamental affair matters but little in the work to be
done.

In a tight fitted coat sleeve there are several mis-
takes to be avoided if a perfectl}^ fitted sleeve is desired.
To make such a pair of sleeves for a dress, the lining for
each sleeve should be cut and fitted before the fabric of
the dress is touched. This will be found a great saving
of time, patience and material just as when at work
upon the basque.

When the sleeve is one for a jacket or cloak and

requires no lining it will always be found good policy

SLEE VES AND COLLARS 79

to cut a sleeve in some inexpensive material and fit it
over the arm into the garment. When this sleeve has
been made to fit the arm properly it should then be
used as a pattern by vi^hich to cut the cloth to be really
used. This course will be found truly economical.
Expensive, wide cloth or even narrow, but equally
costly velvets and plushes which are usually the mate-
rials used for jackets and wraps are too valuable to
try experiments upon.

In cutting this lining the greatest care must be
taken to lay the pattern upon the cloth with the weave
or grain of the latter running correctly. Ladies cut
out sieves with their outline edges just like the pat-
tern, they declare and yet the sleeve does not fit. It
twists on the arm. The inside seam in some myste-
rious way will crawl over the top of the arm, or de-
scribe a spiral curve from the elbow to the wrist. This
is only because the straight line, always found in good
patterns given to indicate how to lay it on the goods
has not been followed. Sometimes there is a strong
temptation to deviate from this rule, when you find
that by moving the pattern over just a half-inch further
to the left or right, you can save several inches in
length, but it is an economy never to do so. The entire
sleeve will be ruined nine cases out of ten, you will
f^nd.

However, these rules need only apply to the lining
of a sleeve. If it is cut correctly the outside may be

8o SLEE VES AND COLLARS

cut bias if desired and the lining will hold it in posi-
tion.

Another error comes from taking in the seams of a
sleeve too deep. There is, of course quite a strain on
the seams of a sleeve and they must be made wide
enough to withstand that. Wide seams in sleeves
must be notched at the elbow, however, just as waist
seams require it where they introduce curves.

The seams of a sleeve should be finished in the
same manner as those of the waist. If the latter are
bound with ribbon, bind the sleeve seams also ; if they
are overcast only that will answer for the sleeves and
sleeves always fit well when their seams are laid open
and the edges loosely tacked to the lining.

It is also very important that all seams and facings
should be thoroughly and carefully pressed with a hot
iron. A large strong bottle wrapped with smooth linen,
makes an excellent ironing board for sleeves. Press
on the right side of a sleeve, with a piece of cloth
between it and the hot iron.

The fit of a coat sleeve for a small arm, or an arm
that is not smoothly rounded is much improved by a
layer of wadding extending from the elbow to the
shoulder. Some good dressmakers use it for all lined
sleeves as they find it gives a desirable firmness to the
set of the sleeve.

For all long close sleeves which fit the arm tight
below the elbow and extend to the wrist, it is best to
leave either one or the other seam open at the wrist

SLEEVES AND COLLARS 8i

for two or three inches. This finish will be found
convenient and quite ornamental at the same time.
It is often found comfortable to turn back the sleeve
by this means as a cuff, when long gloves are put on
or bracelets added to the toilette itself.

The sleeve must always be faced up to a line above
this opening.

MAKING A COAT SLEEVE

When the lining has been fitted and the edges
trimmed off to correspond with any changes, rip out
all bastings. Then tack on the wadding (if it is used).
Lay the lining on the outside fabric and baste all four
pieces of the two sleeves into place before cutting
them out. If the fabric is striped or figured see that
the opposite upper portions correspond.

Then cut each out accurately. Join the edges along
the inside seams, and finish them with ribbon, or over-
stitching as has been decided upon. Then press these
seams flat with the hot iron. Afterward lay the wrist
of the sleeve with the right side flat upon the material
provided for facing the sleeve. Cut the facing four
inches deep and to fit this end of the sleeve. Stitch
them (the lining and sleeve) together across the whole
lower edge and along each side for three inches. Then
join the edges of the outside seam terminating the
seam at the seams made by joining on the facing.
Turn over the facing and tack it down by hand. When
the edges of the outside seam are finished and pressed

82 SLEEVES AND COLLARS

over the bottle, the entire sleeve is finished. It is a
most simple and neat piece of work. Any trimming
desired may be added after the sleeve is turned.

SEWING IN THE SLEEVE

Sewing the sleeve into the garment is a thing which
must be done caretuUy too. The seams of the sleeve
must be placed in their positions and then extra ful-
ness can be laid in pleats or gathers according to the
prevailing fashion. While basting the sleeve into the
armseye hold the sleeve toward you always. Sewing
the sleeve in by hand is very good as a machine will
often disarrange the gathers or pleats.

Tailor-made dresses of the best style have their
sleeves with linings made separately and ail seams
turned inside. In such cases the lining only is seamed
into the armseye while the full outside fabric is sewed
on to the waist by invisible stitches. Such sleeves
require considerable skill to make properly and we
would not advise a novice to attempt them.

In any case the sleeve must first be basted in, hold-
ing the sleeve towards you. Fasten it into the arms-
eye by pinning in their correct places the front and the
back (if there is one) seams and arrange any fulness
there is over the shoulder. Try the garment on before
machine stitching the sleeve into place.

JACKET AND COAT SLEEVES

It is advisable to line even the heaviest cloth sleeves.
Even when the remainder of the garment is not

SLEE VES A ND COL LARS 83

lined, a smooth silk or silk finished lining can not be
too highly recommended for the sleeves. Aside from
the fit its omission is very trying upon the patience of
the wearer. The smooth lining allows the garment to
be so easily slipped on and off. Then light colored
dresses are not exposed to the dye of the cloth that
soils in even the best woolens. The smooth lining
prevents straining and stretching the seams of the
sleeves and shoulders.

These linings should be cut the same size as the
cloth but must be made and pressed separately. They
should be put together with their respective seams
inside and the armseye seams should be covered by
felling the lining of the sleeve over it. At the wrist
the sleeve should be cut long enough to be turned up
inside an inch and the lining is also felled down over
that raw edge.

STANDING COLLARS

For an ordinary round standing collar, the neck of
a waist should be neatly bound by a narrow piece of
bias silk. In other words it should be completely fin-
ished just as if there were to be no collar added. How-
ever, this is not always done and other methods will
be explained further along in the chapter.

A STANDING COLLAR

The above illustration shows the correct proportions
for a standing collar. It must be cut out of straight

84 SLEE VES AND COLLARS

cloth, that is the lining or foundation must be ; the
outside may be cut bias or in any fashion desired.

Canvas or buckram must be used for the interlining
or foundation of all standing collars. Crinoline or
lighter stiff materials will nut give the desired firm-
ness. A standing collar should be so stiff it will not
with ordinary wear wrinkle or crease. Cut the inter-
lining first and baste it firml}^ on the outside fabric.

The width of the collar must depend upon the style
in present fashion and the taste of the wearer. There
must, in cutting, be an allowance made of a quarter of
an inch all around the collar for seams or turn in.

Every collar unless a very thin one should be lined
with silk, This should be cut to correspond in size
with the interlining. Turn down together the inter-
lining and outside (which have previously been basted
together) all around the depth of a deep seam and
baste this fold in place. Then baste upon the under-
side the lining of silk : turn in its edges all around and
fell them down neatly. This makes a much neater
collar than to seam the three pieces together and turn
them inside out, which process also wrinkles the can-
vas so badly, it is almost impossible to press the collar
into shape and smoothness again.

Every collar must be thoroughly pressed with a hot
iron with a cloth between. When this has been done
place the middle of the collar at the middle-back waist
seam and sew it on from that point toward each front.
Use strong twist and back-stitches on the under-side of

SLEE VES AND COLLARS 85

the waist. These stitches should pass through the inter-
lining of the collar but must not be seen on its outside.

Under no circumstances must the edge of a collar
be stretched but sometimes the neck may be given an
imperceptible extension and a more perfect fit in the
curves of the neck and shoulder be secured. However
this is hazardous and should only be practiced after
considerable experience in dressmaking has been
acquired.

Another method of making a standing collar is to
seam the ends and upper edges of the cloth, interlin-
ing and lining altogether and turn them, and press.

Then joining the middles of the cloth and interlin-
ing at their lower edges to the middle back seam of
the waist at its neck, seam the collar on. Afterward
fell the lining of the collar down covering the raw
edges of the seam. It must then be thoroughly pressed
with the hot iron.

Either of the above methods of sewing on a stand-
ing collar is preferable to the old one of sewing on all
lower edges of the collar to the neck of the waist and
a bias facing in a seam after which the facing was
felled down over the raw edges. This was clumsy
fashion and not at all permissible in these days of per-
fect and close fitted bodices.

TURN-OVER COLLARS

Both jackets and basques are frequently finished at
the neck by turn-over collars. They are cut in two
portions with their front edges on the straight of the
goods.

SLEE VES AND COLLARS

This illustration shows a turn-over
collar. It should never be sewed on
to the neck of a waist but should be
first joined to a band of straight
cloth and it attached to the neck.
When all the seams have been sewed
and pressed and the waist put on,
turn over the collar and press it with

TURN-OVER COLLAR ^^^ ^^^^ ^^^^ ^j^^p^^ ^j^-^ j^ ^^^^^^

than pressing it before it is put on.

This style of collar should be given a lining of silk
harmonizing in color with the cloth and an interlining
of canvas. Crinoline may be used instead of canvas
if found more convenient, as there is not so much
firmness required for this style of collar as a standing
one. Where the turned over collar is as wide as as the
one illustrated, the ends and lower edge are often fin-
ished with a wire. The turn in the front is thus kept
in its upright position.

REVERS COLLAR

This collar is the most difficult of all
to make. Some authorities go so far as
to say no one, but a good tailor should
ever attempt one. But for many double-
breasted jackets and basques they are
indispensable and we see no reason
why with care and good rules to follow'
a woman may not accomplish even this

collar. REVERS COLLAR

SLEE VES AND COLLARS 87

When the collar is cut in three pieces joined by
seams at the notches, it is easily made. The cloth
is joined at these seams and a lining of silk and an
interlining of canvas is provided and they are seamed
together at the outside edge. Then the cloth is seamed
along the edge of the cut-away neck of the garment,
with the seam on the right side of the latter. After
which the lining of the collar is felled down over the
raw edges of the seam.

But more often the three-cornered part of the collar
which comes down over the bust is continuous with
the front of the garment itself. It is the front turned
over. This makes the collar more intricate. In such
case the first thing to do is to baste over this part a
layer of canvas and then top face it with the material
that is used for the remainder of the collar. Join to
it the cloth of the back portion of the collar in the
short seams and join that portion to the neck of the gar-
ment itself. When all this is done and thoroughly
pressed by the hot iron nothing remains to do except
fell on a lining with a canvas interlining for the back
portion of the collar.

PLASTRONS

But little can be said on the trimming of bodices,
owing to the fluctuations in fashion. Full draped
bodice fronts are very pretty but it requires skill to
handle a folded piece of cloth and lay it in artistic
pleats. The aspirant is cautioned against attempting

88 SLEE VES AND COLLARS

too much. Even to copy a fanciful design
requires a long and faithful apprenticeship.
But plain plastrons and cuffs can be more sat-
isfactorily managed. A double-breasted
front gives a desirable style to a basque,
whatever the prevailing fashion. The one
illustrated may serve as a guide. It can be
cut on three sides over the outlines of the
button-hole side of the basque. It is joined
along the one side to the button-hole side
A PLASTRON of tlic basque its entire length. Along its
outer edge it may be finished in scollops, or simply
completed straight, slanted or narrowed toward the bot-
tom of the basque. It may be fastened down along that
edge bv buttons or by hooks placed on the under-side.
But as that edge must be necessarily bias, hooks and
eyes do not close it securely.

Pieces like this or other revers and sleeve cuffs
should always be lined with silk and at the same time
be given an interlining of crinoline.

CHAPTER VII
JACKETS AND CLOAKS

ladies' TAILORING ITS DIFFICULTY THE PATTERN —

SPONGING CLOTH — CUTTING CLOTH LINING A WRAP —

FINISHING SEAMS

ladies' TAILORING

Tailoring varies from dressmaking principally in the
methods of cutting and finishing. In cutting a gar-
ment (always done by measurements) the tailor draws
the pattern on the material itself, using no paper pat-
tern, and cutting the lining Afterward. In tailoring,
the lining is merely put in as a neat finish ; it has
nothing to do with the set or fit of the garment; it is
seamed when the garment is sewed and boned, by being
neatly hemmed over on itself. Hence tailoring only suc-
ceeds for cloths and heavy materials, because light fab-
rics need the support of a lining to give them firmness
and substance. On the other hand, when lining and
material are seamed together, as in dressmaking, the
tailor's exquisite fit is nearly impossible. No mat-
ter how careful we may be, the lining and material

go JACKETS AND CLOAKS

will never exactly correspond, and then one may give
or stretch more than the other; in either case wrinkles,
no matter how small they may be, are inevitable.

Tailoring is marked by its perfect accuracy, its firm-
ness, strength and durability of workmanship. It is
naturally heavier work than dressmaking, but it is a
style of work adapted, and indeed requisite for heavy
materials. The home tailoress will find an inces-
sant need of hot, heavy irons in the course of her work,
die work of the iron being assisted by the action of
soap, water, and even paste as is elsewhere shown.
But there is something satisfactory about the work,
for it looks so beautifully neat and firm when finished.

ITS DIFFICULTY

The novice should understand that the most difficult
task a sewer can undertake is to make a jacket or cloak.
The ordinary dressmaker is not usually modest regard-
ing her ability but she has been forced to confess she
can not handle cloth like a tailor. The only reason
for this is, she does not understand the value of bast-
ing and pressing as he does.

Did you ever see a coat while a tailor is at work
upon it? It is always absolutely covered with white
bastings and he works with his hot goose within reach
of his hand. The tailor also cuts by the square and
rule but certain systems of dress-cutting are modelled
on the same principles and there are patterns that will
answer every purpose.

J A CKE TS AND CL OA KS 9 1

What makes the contract also a very serious matter
is that usually it is expensive material that must be
risked. Unless you are a little experienced in cutting
and have a tried pattern it is a good plan to pay a
tailor a couple of dollars to cut the garment. If the
cloth is not cut with the correct curves and outlines
no power on earth will ever make it fit properly.

THE PATTERN

However, if yoM have a basque pattern that fits you
perfectly it will answer for a jacket with modifications.
The seams must be cut a half-inch wider than for a
dress and the armse5'es cut one-half inch lower than
a dress waist. This extra allowance is required because
of the thickness of materials used and because the
garment is to be worn over another waist.

For basques two darts are used but a jacket is usually
supplied with only one, and if the jacket is cut tight,
half-fitting or loose, one dart is usually indispensable.
However, for women tending to Embonpoint two darts
are better. The seam lines tend to lengthen the waist-
line. Further along suggestions are given for lining
wraps but this is seldom done, and the fitting can not
be done in that as it is for dress waists. Consequently, if
there are an}^ doubts of the perfect fit of the pattern it
is the better plan to take some inexpensive muslin and
first fit it after the pattern. When that has been done
use this muslin as a pattern for cutting the cloth. This
will often save you many dollars and much mortifica-
tion.

92 JACKETS AND CLOAKS

SPONGING CLOTH

There are very few woolen cloths but require spong-
ing before being used. Perhaps the salesman from whom
you purchase it will tell you, it does not need sponging,
but it is not safe to trust so unreliable an authority.
All cloths showing a gloss on the surface will spot
with the least drop of water. A light rain shower will
ruin a jacket made up in it without sponging.

Some women think this sponging of cloth a most
mysterious process and a thing they can not do for them-
selves. And when the cloth is taken to a dye or cleaning
house, there will be a charge of twenty-five cents per
yard for the sponging. This is all out of proportion
for the service.

The work can be easily done at home. Before cut-
ting the cloth, wring out of clear water a sheet or a strip
of muslin and lay it between the folds of the right side
of the cloth. Towels, that do not shed lint may be
used for the same purpose. Roll up the cloth in these
wet cloths and allow it to wait a half hour and then
remove the muslin and press the cloth on the wrong
side until it is perfectly dry. The wet cloths should
be wrung out as drv as can be done b}' hand before
being placed on the cloth. This sponging will take
off the objectionable gloss and at the same time will
sufficiently shrink the cloth.

Some wait until a damp lowering da)', yet when it
is not raining and then they hang out in the air for
two or three hours, the cloth they want sponged. This

J A CKE TS AND CL OA KS 93

plainly is not a safe expedient. Another way is to lay
the damp muslin on the cloth and iron it with a very
hot iron until both are dry. This is certainly a safe
method but it is also a very laborious one.

CUTTING CLOTH

Upon the surface of the smoothest woolen cloth as
well as that of velvets, plushes and similar fabrics
there is always a nap. By brushing the palm of the
hand lightly along the surface its general direction
can be readily detected. In laying the pattern upon
the cloth, it should be done in such a manner that the
nap always runs or turns down. This rule should be
followed even at the expense of the quantity of cloth
used.

These rules hold good with regard to velvets and
plushes used for the same purposes, although there
have been those who held that their nap should run in
the other direction, to give them a desirable full look.
But the best authorities do not agree to it.

When you are sure the pattern at hand is a good
fit, cut your cloth but never before. As suggested, fit
cheap muslin first. Then lay all the portions on the
cloth before cutting out one of them. Lay them on so
that the weave of the cloth corresponds exactly with
the weave of the pattern. Then the nap of the cloth
must all run downward.

Alwaj^s allow for generous seams. In an experi-
mental garment they are safeguards. The only change

94 J A CKE TS A ND CL OA KS

which Is likely to be required is in the length of the
waist. If it is too long it may be remedied by taking
up the shoulder seams when, of course, tlie collar and
armseye seams will have to be cut down. However, in
fitting make as few changes as possible in the cloth.
To cut away a half inch before you are absolutely sure
the change is required will often ruin the whole gar-
ment.

LINING A WRAP

Lining a jacket or cloak and lining a dress are two
very different and distinct things. For a bodice the
dress material and lining are seamed together. For a
jacket or cloak two distinct garments are made. One
is the cloth and the other the lining of silk or satin.
The only points of connection are along the lines of
the edges. The sleeves of the wrap, if it require sleeves,
are made in the same manner. Their cloth and lining
are only joined together at the wrists and the shoulders.

For cloaks an inter-lining is frequently used. It
gives the garment a certain desirable style to place can-
vas over the chest and across the shoulders and makes
it set well. Again flannel is sometimes, introduced in
the same way for extra warmth. These inter-linings
ate sewed together with the cloth seams, but the silk
lining always remains separate. The seams of each
portion must be laid open, notched and pressed flat
before they are laid together.

Pock'^ts are among the most difficult things to man-
age in making a jacket or cloak. Their openings are

JACKETS AND CLOAKS 95

cut in the cloth and they themselves are cut and made
to lay flat. They are always put in before the lining is
attached and do not appear in it at all.

The pocket welt or opening must always be stayed.
There is no cloth, no matter how excellent that will
stand the strain of a pocket welt without a stay. A
strip of canvas or silesia sewed in the fold of the welt
is all that is required.

FINISHING SEAMS

In heavy woolen garments, such as cloth jackets and
cloaks, where the seams are to be bound with satin,
silk or farmer's satin, and the garment is not lined, the
binding is sometimes put on before the seam is
stitched and is cut wide enough to extend just a trifle
beyond the basting of the seam. It is applied by the
usual binding process at each side, and then the seam
is stitched through the binding as well as the fabric.
Seams finished in this way are not pressed, of course,
until the binding has been added and sewed in ; and a
row of stitching may be made along the rolled edge of
the binding on the upper side of the seam edge. A safer
way is to baste the binding on, after the seams are
pressed, by the rolled method just described, turning
the binding under on the under-side, so that one row
of machine-stitching will hold both it and the roll of
the basted edge in place. Silk, satin and farmer's satin
cut in bias strips are employed for this kind of binding.

CHAPTER VIII
PLAIN SEWING AND FANCY STITCHES

OVER-HAND SEWING — FINE STITCHING — RUNNING SEAMS —

BACK-STITCHING — HEMMING HEM-STITCHING FELLING

FRENCH FELL GATHERING SHIRRING OVERCASTING

TUCKING GUSSETS PATCHING — SEWING ON STRINGS

HAND-SEWING

Since the advent of the sewing machine, stitching
by hand is considered a sad waste of energy. At the
same time the beauty and delicacy of sewing done by
hand can not be equaled by the best machine work.
Dainty linens and cambrics hemmed, felled and tucked
by hand will always be preferred and, in the market,
demand a better price from purchasers.

Our grandmothers were taught needlework as they
were taught their A, B, C's and every little girl and
woman to-day enjoy knowing the rules governing such
work.

For hand-sewing the foremost need of the work-basket

is a needle-book well stocked with all sizes of needles

of the very best make. They may be long or short as

PLAIN SE WING AND FANCY STITCHES 97

the worker prefers but they must have sharp points
and good large eyes. The best needles have eyes as
large as possible in proportion to their size. When a
needle's point breaks off or becomes bent throw it
away at once, there is no econom}^ in preserving it for
possible emergencies.

The work-basket should also be supplied with cotton-
thread of each number. Then in sewing be particular
to use the sizes of needle and thread best adapted to
each other and to the fabric to be sewed. A large
needle carrying fine thread will pierce a hole too large
to be filled by the thread, thus, making an uneven
stitch. A thread too coarse for the needle or fabric
will make an uneven ragged hole or will draw the
weave of the fabric out of place.

An emery bag is also a requisite work-basket acces-
sory. This is best homemade as the fascinating straw-
bery trifle sold under that name often contains a spuri-
ous filling. However, when sewing by hand, when the
needle loses only its smoothness, running it through
your hair once or twice restores it. The natural oil of
the hair is a powerful lubricator for both refractor}'
needles and pins. For making the thread smooth and
flexible a piece of good white wax is always valuable.

OVER-HAND SEWING

Our grandmothers spent their youths spinning and
weaving narrow widths of linen they afterward fash-
ioned into sheets requiring a torturing seam their en-
tire lengths. It was upon these overhand seams little

98 PLAIN SE WING AND FANCY STITCHES

girls were given their first sewing lessons. We hope it
will be upon shorter seams our reader will learn the task.
Overhand sewing will be found a very simple lesson,
if you avoid "puckering". That word is the synonym
of woe to many a spectacled dame of to-day. A pucker
in her seam meant ripping and doing over many a long
seam, when she was a little girl.

OVER-HAND SEWING

Two selvage edges for overhanding are basted
together and the sewer must stitch them over and over
from left to right. The stitches in a seam of this
kind must be even in depth; that is the same number
of threads from the edge must be taken up by the needle
in each stitch. To make the seam perfect the worker
must always introduce the needle at the same angle.
It matters little whether it be continuously straight
over and over as in the first illustration or slanting as
in the second. Uniformity is the thing desired. If
this is followed persistently, precision soon becomes
so natural as to require no effort.

The fabric should be pinned to the lead pincushion
or table and held, straight in the hands, not drawn
over the first finger of the left hand. The thread should
not be drawn too tight over the selvage edges to allow

PLAIN SE WING AND FANCY STITCHES 99

STITCHING

the seam to press out smooth when finislied, as shown
in the third illustration.

Seams with raw edges may be sewed in the same
manner. In such cases, however, the edges must first
be turned down on the wrong side.

FINE STITCHING

The orthodox method is to sew
the fabric together by putting the
needle back two threads behind
the place of its last insertion,
bringing it out two threads in
advance of the latter. Continuing this in a line
makes each stitch only the length of two threads of
the fabric. Our illustration shows more plainly than
any explanation the way the needle must be inserted.
This is the most exquisite of hand sewing, but it
is seldom done, never except on the finest of infants'
clothing and then stitches guided by the eye are dainty
enough, without the strain of the exactness of count-
ing threads.

KUNNING SEAMS

Running is similar to stitch-
ing with the difference that the
needle is never put backward.
Several stitches may be taken
RUNNING STITCH upou the needlc before the

thread is drawn through the fabric. Two threads of the
fabric are taken up by the needle and two threads passed

1 06 PLAIN SE WING AND FANCY STITCHES

over. This does not make a seam of any great strength,
but it is used for skirt breadths and tucks sewed by
hand. All materials do not allow of a thread being
drawn out easily to guide the needle, as is indicated in
our illustration. Even when thej^ do, it would often
be a considerable waste of time, and children learn-
ing must early be taught never to waste time. A
piece of light cardboard or thick paper folded double
and cut of the exact width of the seam will serve the
same purpose. Being held firmly under the thumb of
the left hand and slipping with it along the edge as
the seam goes on, the needle being always carefully
inserted by the side of its lower corner, the straight
line will be quite correct.

BACK-STITCHING

Back-stitching must not
be confounded with fine
stitching. They are alike
with the exception that the
number of threads taken

BACK-STITCHING . , r 1 r

up m advance of the form-
er stitch is twice the number taken behind it. Or the
needle is inserted two threads behind the former inser-
tion and brought out four threads in advance, or six
threads are taken up, on the needle.

There is a seam which is much used made up of a
back-stitch and a run. It is not a very artistic seam
but it is stronger than a run. For this, four or five
running stitches are taken, the thread drawn through

PLAIN SE WING AND FANCY STITCHES loi

and then the needle is inserted two threads back and
another run of four or five stitches is made.

HEMMING

The preparation of a hem
for sewing is very important.
The raw edge must first be
turned under and the extra fold
HEMMING which conccals it must be laid.

These folds should not be crimped between the fingers
but pressed together smooth and even. The folds are
usuall}^ pressed into position by the thumb, while others
rub them up and down against the edge of a table.
The stitching of hems seems like a very simple form
of sewing but carelessness is only too common and a
nice garment is often cheapened in appearance, by
slip-shod hemming. Working from right to left, the
stitches of a hem should be taken up every four threads
of the fabric. They should not be. too long but only
enough of both parts of the hem should be taken on
the needle to secure the hem.

Cloth and thick materials are often finished by being
turned over and stitched down. If hand-stitched, this
kind of hem need not be tacked, but for sewing machine
work it is best to do so.

Few finishes for muslin dresses are prettier then the
stitched hem. For children's dresses, the stitched
hem is often worked with a silk contrasting in color,
which gives the effect of a Russian braid. Tarletan

1 02 PLAIN SE WING AND FANCY STI TCHES

ball dress flounces, stitched with white, or with colored
silk, look admirably, and are thus trimmed at trifling
expense.

Another mode of hemming used by dressmakers is
called by French dressmakers "half hem," and is used
for keeping the lining of dresses in position; the
stitches are taken very far apart, and the needle is
inserted slanting so as to take up the least piece at a
time, in order not to show on the right side. This
is easy enough on thick fabrics, as cloth, serge, rep,
and poplin, but very difficult on thin silk, when, as it
is not possible to prevent the stitches from showing
on the right side, the stitches are much closer together,
and set at exactly even distances.

HEM- STITCHING

Hem-stitching at one
time entered largely into
fanc3'-work only, but to-
day it is used for hem-
ming, sheets, pillow cases,
towels and some table-

HEM-STITCHING ^i^^j^g^ UapkiuS, doilieS

and other household linen. For hem-stitching,
measure from the edge of the fabric the space the hem
will require. Then draw out at that distance from the
edge five threads of the fabric. Then turn under a
fold of the edge and baste the hem down to the drawn
threads. Holding the wrong side of the hem towards

PLAIN SE WING AND FANCY STITCHES 103

you work in regular hemming stitch from right to left.
At each stitch run the needle under five of the cross
threads of the fabric. Repeat this the second time,
passing the needle through the edge of the hem also.
In this way you will find the ravelled stripe of cross
threads of the fabric are divided into strands at the
same time that the hem is sewed down. When only
a few threads are drawn out the hem is worked on
one side only; if a number of threads are drawn it
should be worked on both sides.

FELLING

Felling is hemming a seam.
It is used for finishing a seam
with neatness and [strength.
It is seldom used except for
cotton, linen or silk muslin

FELLING , , , .

when they are made into un-
derwear. The seams for a shirt or night-gown are
first sewed together in a seam by hand or by the ma-
chine, allowing a good edge. The under raw edge
is then cut one-half narrower than the other and the
wider is turned under like a fold of a hem and after-
ward hemmed down flat. To make a seam that is per-
fectly neat when felled, the edges must be seamed even
and narrow and the turn in of the wider edge neatly
pressed down on the fabric.

FRENCH FELL

The French fell is also much used for muslin under-

FRENCH FELL

1 04 FLA IN SE WIN G A ND FANC V S TI TCHES

wear. It has the great recommendation of
being quickly done, either by hand or
machine. The edges of a seam are run
together first with the raw edges coming
on the right side. When they have been
trimmed even and as narrow as will be
consistent with strength, turn the seam and run it
together on the wrong side taking in the raw edges.
This manner of closing a seam has been called the
"pudding-bag seam." If the seams, as in other felling
are made even and narrow, a neat, strong seam is the
result. All ready- made underwear, unless especially
fine has its seams finished by the French fell.

GATHERING

To gather a ruffle correctly, the old rule was to take
up on the needle two threads of the fabric and pass
three. In these days it means to simply run the fab-
ric in an even line with a thread strong enough to draw
it together. When this has been done, push the needle
through the fabric at the end of the gathers and wind
the thread back and forth over the needle securing the
gathers. Then fastening the end of the cloth to a
leaded pin-cushion, with a coarser needle stroke each
stitch into position, pushing the straightened stitches
between the first finger and thumb of the left hand.

SHIRRING

For shirring, the line of gathers is repeated again

PLAIN SEWING AND FANCY STITCHES 105

and again. These lines
should be an eighth of an
inch apart. It is not re-
quired to stroke the stitches
for shirring.

SHIRRING

OVERCASTING

Every seam should have its raw edges finished in
some manner. Chapter IV. gives several ways for finish-
ing dress waists and the ordinary and French fells are
mentioned as before indicated in this chapter, but there
are many seams requiring only a neat overcasting as a
finish. This is the term used for the far apart over-
hand stitching which binds together raw edges. Care
must be taken not to draw the thread too tight in over-
casting.

TUCKING

The great Benjamin Franklin once gave this rule for

io6 PLAIN SE WING AND FANCY STITCHES

measuring a tuck to his daughter. "In measuring a
tuck so as to make its width mathematically even at
all points, the best way is to cut a piece of stiff card
the depth needed for the tuck, marking the space
between the tucks. Little triangular nicks in the card
can be cut to indicate these measurements. Hold the
card in the left hand with the notched edge toward the
right, and move it along as you baste or mark. "

The tuck must be folded and basted. Machine stitch-
ing is best for tucks, but some will use only hand run
tucks for infants' dresses. In cutting cloth to be tucked
twice the depth of each finished tuck must be allowed
in the length.

GUSSETS

There are two kinds of gussets. One which we
illustrate is a square piece of fabric let in to give
more fulness to a sleeve or any other part of a garment.

A GUSSET

A gusset of this kind is always cut square. It is

PLAIN SE WING AND FANCY STITCHES 107

first joined on one side to the side of the sleeve by a
felled seam. Then the other side of the sleeve is after-
ward joined to the gusset and felled like the first. The
gusset thus apears cornerwise in the upper part of the
sleeve, as is shown.

The other kind of gusset is alwa5's small and cut
square or three-cornered (a square cut in two). It is
placed in the opening of sleeves, of nightgowns, blouses,
etc., to prevent the tearing-open of the seams.

When these gussets are not cut square, the edges
are turned in on all the four sides, then the gusset is
folded in two, so as to form a three-cornered piece
which is sewed in its place, in overcast stitch, the
needle taking together, at each stitch, both turnings-in
of the piece and the side of the opening in which it
is fitted.

If the gusset had been cut three-cornered, turn-
ings-in are also folded down on all sides of it ; the cor-
ner which forms a straight angle is sewed in, in over-
cast stitch, half-way up each side of the patch. The
remaining part of it is then folded down on the wrong
side of the garment and hemmed around neatly.

PATCHING

Patching must be done with great care, for it must
be as invisible as possible. All the worn out part of
the fabric which may surround the rent, must be cut
away into a square or rectangular shape following
exactly the thread of the fabric.

The patch is then cut of the same dimensions as

io8 PLAIN SE WING AND FANCY STITCHES

the cut-out piece, allowing an extra quarter or half-
inch, according to the fineness of the fabric, for the
turnings-in.

PATCHING

At each corner of the space cut out of the material
a slanting stitch is made just half as deep as the extra
space given to the patch, and the edges are turned in.

The material is then folded down all round the edge
of the patch which is sewed in in fine overcast stitches.
(See illustration.) It must exactly fit the space left
for it, and neither pucker nor cause the material to do
so. It will surely fit in if care is taken to give to all
the turnings-in.

If the patch has been put in woolen material or in
a dress, there is nothing to do but to flatten the seam
with a warm iron \ but if it has been put in linen, the
turnings-in must be neatly hemmed down.

For linen there is another kind of patching which is
neater still. The patch is put in with a felled seam,
the felled part of the seam being ahoays formed by the
patch, but the corners are very difficult to make per-

PLAIN SE WING AND FANCY STITCHES 109

fectly straight and even ; none but experienced needle-
women will do them neatl)\

There is another mode of patching cloth. The patch
is cut of the exact dimensions of the piece which has
been cut out, as there is no need of turnings-in. It is
sewed in on the wrong side with fine silk or cotton,
the needle never going tli rough the cloth, but taking in
only half its thickness. When the patch is entirely
sewed in, the nap of the cloth must be slightly raised
on the right side of the seam with the point of the
needle. If the work has been neatly done the patch
will be quite invisible, especially after having been
ironed down.

SEWING ON STRINGS

We give two illustrations

to plainly indicate the two

ways of sewing on strings!

the first shows a string

sewed on in the plain cloth

where it can not be seen
on the right side of the garment and it is
simply stitched on with as unobtrusive
stitches as possible ; the second shows the string
attached to a hem or seam on the edge of the material.

No. I

No. 2

CHAPTER IX

PLAIN SEWING AND FANCY STITCHES
(Continued)

SLIP-STITCHING — WHIPPING — BINDING CORDING PIPING

DARNING — CHAIN-STITCH^CROSS-STITCH — HERRING-BONE

STITCH LOOPS BUTTON-HOLES — SEWING ON PEARL AND

SIMILAR BUTTONS

SLIP-STITCHING

Slip-Stitching is so termed because the needle must
be slipped under the right side of the material without
getting through it. The work is held in the hands as
when hemming or sewing a seam, but the way of insert-
ing the needle resembles more an overcasting stitch.

[ ii"iilMliiti|.iHiMiiiiinniiii)

Slip-stitch Slip-stitch Finished

This is much used in dressmaking for fastening on
made trimmings and in millinery it is indispensable.
To make the stitches entirely invisible the thread

PLAIN SE WING AND FANCY STITCHES 1 1 1

WHIPPING

should be drawn as tight as it is possible without caus-
ing the fabric to pucker. This stitch may be used on
silk and other thin materials but is more easily on a
thick fabric like velvet.

WHIPPING

Whipping is not
much used, but for
gathering fine muslin
net, gauze or soft
woolen materials it
is found convenient
and neat. As shown
in the illustration, the
edge of the material
is rolled down by the thumb of the left hand as the
work proceeds; it is sewed in overcasting stitches with
cotton strong enough to force the material into gath-
ers when it is drawn straight through.

BINDING

There are two ways of binding. One, chiefly used
in plain sewing, consists in simply folding the bind, as
the braid or ribbon is termed, in two over the edge of
the material and hemming or stitching it, taking care
to insert the needle through both sides of the braid.
(See illustration).

The other, used in dressmaking and for thick mate-
rials, as it must be first sewed on and then turned
down, is more elegant and is often used as a sort of

112 PLAIN SE WING A ND FANCY S TITCHES

ornament. For this way of binding, the braid is laid
on the right side of the material as low under the edge

as the binding is in-
tended to be broad.
It is run on just at
the edge then turned
down and hemmed
on the other side
No stitches are visi-
ble, and it forms a
neat edge. In bind-
BiNDiNG ing scollops, care

must be taken, when running the braid, to make suffi-
cient allowance for the subsequent turning over, as the
scollops would curl should the braid be drawn too
tight.

A good precaution, when using woolen braid, con-
sists in previously soaking it in warm water and then
hanging it out to dr}'. It will shrink then as much as
it is liable to do, and will do so no more. When sewed
on afterward it will always remain flat, and will not
cause those puckerings which are so great an objection
to braid bindings.

CORDING

Cording is generally used to prevent stretching.
Around the armhole and whenever it is placed between
two pieces of material, the strips of material carefully
cut on the bias, are folded just in two, a piece of piping
cord is slipped in and the strip is neatly stitched in

PLAIN SE WING AND FANCY STITCHES 1 1 3

together with both pieces of material. When the cord-
ing is placed on the edge of the material, the strip
must only be folded half-way down, and the cord
insei'ted within ; this allows for the hem.

Beginners had best tack
down the fold of the ma-
terial over the cord, but
that is unnecessary for
practised hands. The
strip nuist then be placed
CORDING on the edge of the right

side of the material, the corded side downwards,
and be stitched close under the cord, then the strip is
turned down so that the corded edge alone shows on
the right side of the material, and hemmed on the
wrong side. When the garment thus corded is lined,
the hemming must be done with slip-stitching, so that
no stitches are visible on the right side.

Our first illustration shows cording put on at the edge
and partly hemmed down. Another variety of cord-
ing is frequently used as a trimming. It is shown in
our second illustration and con-
sists in inserting between two
materials one or more rows of
DOUBLE CORDING cord more or less thick and stitch-
ing them down, forming in this way a series of orna
mental ribs.

PIPING

Piping is still another style of cording that has, under

1 1 4 PLAIN SE WING AND FANCY STITCHES

that name, been often in great favor for trimming

dresses. It is put on
plain or double and is
generally employed to
edge bias or straight
bands of material. The

^^^-x.^>&xv^_^vv^.^ws.<i..^.^^_^^ illustration shows piain-

PIPING ly the manner of making

and putting on pipings.

DARNING

Darning requires a great deal of patience and atten-
tion. It also requires neatness, and a little practice
will soon render it easy, if these qualities are not want-
ing. When the darn is required to repair an acci-
dental tear or hole, great care must be taken to render
it as nearly invisible as poscible. For linen, cambric
or any other material of which the ravelled threads are
strong enough. It is best to darn with them.

The needle is inserted in and out of the material
taking alternately one thread over and one thread under
the needle. At the end of each row of stitches a lit-
tle loop of cotton must be left, and the thread must
never be drawn very tight, otherwise the darn would be
puckered. If the edges of the hole are jagged and irreg-
ular, they must be neatly cut out. Great care must be
taken on continuing the darn on the other side of the
hole to insert the needle between the very same threads
of the material. When one side is completed the cotton
is cut off, and the work is begun in the opposite direc-

PLAIN SE WING AND FANCY STITCHES 1 1 5

tion, also beginning some distance from the torn place,
taking care never to miss one thread or to take two at
once. In the next row, the threads missed in the pre-
ceeding are taken up, and those which were taken up
must be missed in their turn. This rule must always
be observed, as well when working over the material as
when actually darning the hole. A loop of cotton
must, as before, be left at the end of each row. On
transparent materials, such as muslin or cambric, all
these loops must be cut off when the darn is completed.
The great art of darning is to repair the darn by lay-
ing the threads very equally and regularly, not loose
nor tight but just even, and then to take these threads
up with perfect regularity so as to as much as possible,
restore the material to its orijinal state.

To darn cloth, silk thread is used and it is run along
in the cloth, without any stitches showing. It is very
easy to darn cloth in a neat manner.

CHAIN-STITCH

F " Regularity is the

I chief beauty in the

[ f chain-stitch. The same

' ....

] quantity 01 material

il««^««£^£r^^^:>V^.j::.„.,i^ should be taken on the

CHAIN-STITCH needle at each stitch.

The thread must be kept under the needle at each
stitch, the left-hand thumb being placed upon the
loop formed by the thread when the needle is in-

1 1 6 PLAIN SE WING AND FANCY STITCHES

serted in the ver}'^ hole from which the thread came
out for the last stitch. Care must be taken not to
draw the thread too tight, otherwise the material
will be puckered. This stitch is the simplest manner
of marking cloth. Take a pencil and draw on the ma-
terial the initial and work over with the chain-stitch.

CROSS-STITCH

Cross-stitch is the best stitch for marking cloth and
it ma}' be done in silk, cotton or woolen thread. Experi-
enced workers become able to outline an initial with-
out, but it is better to use a piece of coarse canvas
when marking, after which it may be drawn out by
threads. To make the cross-stitch as shown in our
illustration the needle must be inserted upwards from
under the material, a knot having previously been
made at the end of the cotton. Each stitch is double,
being composed of two slanting stitches crossing each
other, and must cover the threads of the material in
each direction. All the other stitches must be crossed
in the same direction, and the crossing go slanting up
from rie:ht to left. When two or more stitches have

PLAIN SE WING AND FANCY STITCHES 1 1 7

to be made in a row, half of each stitch must be made
at a time, then they are all crossed at once.

HERRING-BONE STITCH

This stitch is often used in dressmaking for fasten-
ing into place pieces of the linings or for tacking in
place a seam's edges. The seams of skirts and skirt
facings are often finished by herring-boning. It is
also much used on flannel and cloth garments which
are worn not lined.

The edge of the material being folded down ojue
small straight stitches (the stitches used for running)
are made alternately above and under the edge. Work-
ing thus, and always backwards, each stitch crosses
the preceeding one. It is superfluous to say that the
stitches must be made very regular, of the same length
and with the same interval between them.

LOOPS

Loops are in many cases used instead of button-
holes, especially for the smaller articles of apparel.

They should be made rather thick,
for they break easily, and should be
fastened firmly on the edge of the
material. Like button-holes, the
loop must be made of a size exactly
A LOOD corresponding with that of the but-

ton it is meant for. The stitch is
exactly the same as the button-hole stitch described
below.

1 1 8 PLAIN SE WING AND FANCY STITCHES

BUTTON-HOLES

There have been many inventions presented the sew-
ing world, for cutting button-holes, but nothing has
been found to be better for general utility, than a pair
of sharp medium sized scissors. For cutting round-
ended or eyelet button-holes a cutter having a punch
and sharp blade combined is sometimes preferred but
with a sharp bodkin and a pair of scissors better results
are generally obtained. Button-holes are usually cut
at right angles with the edges they close and they
should always be properly spaced and marked before
being cut. • A tape-line is the best measure that can
be used for spacing, although some prefer a card of
the size of the space between the button-holes. By
placing the edge of the card even with the edge of the
basque the button-hole can be marked with chalk or a
pencil, or even cut immediataly, along its edge. The
proper distance from the closing edge to the front end
of the button-hole may be indicated on this card and
a perfectly marked button-hole is the result. This dis-
tance varies somewhat with the size of the button to
be used. While the front end should always be set
back one-half inch from the closing edge, when a large
button is used, the distance must be a few threads
more than one-half the diameter of the button.

When button-holes are worked in cross-barred or
plaid fabrics, they should be cut to follow parallel
with the cross bar or plaid, even when a slight deflec-
tion from a right angle to the closing edge is made.

PLAIN SE WING AND FANCY STITCHES 1 19

The same thing may be permissible when the closing
edge is considerably curved.

When cutting a button-hole which is to be made over
three or more thicknesses, there is great difficulty in
getting them all cut exactlj' alike; when the fabrics
are thick and elastic they are likely to slip. There
have been various methods tried to prevent this. The
best is to baste them all firmly together along the two
lines made by the front and back ends of the button-
holes, before they are cut.

Another method, which, however, has its objection-
able features is to take a mild mucilage made of shellac
dissolved in alcohol and with this paste the fabrics
together where the button-holes are to be worked. The
alcohol soon evaporates, still fabrics are very likely to
become smeared or their colors will run together
when the pasting is done.

Another way of holding fabrics together while cutting
and working button-holes, is to mark the button-hole
on the cloth and machine stitching though all the
thicknesses on each side of the mark. These stitchings
should be just far enough apart to allow the cutting
of the button-hole between.

Whatever method is chosen, as has been before stated,
in cutting a button-hole great care must be taken to cut
the underside exactly like the upper. To do this where
there is any thickness is difficult. When the punch
is used it is pushed through sharp and direct at one end
and the sharp pointed scissors make the rest of the

1 20 PLA INSE WING AND FANCY STITCHES

cutting a simpler matter, but when the scissors alone are
used, one sharp point must be depended upon to do
as good work as the punch, but this requires a very
steady hand.

No. 1

No. 2
BUTTON-HOLES

No. 3

We illustrate the three kinds of plain button-holes
used in ladies' and childern's garments. The first, or No.
I, illustrated is the button-hole made in cotton and lin-
en fabrics, the second, or No. 2, is the customary but-
ton-hole for dresses and similar garments, while the
third, or No. 3, is the cloak or wrap button-hole.

When the button-hole has been cut, before proceed-
ing to work it, as it is called, its edges must be stayed.
For a button-hole like No. i, a single thread run like
a bar along each side will be sufficient. A single stitch
at each end of the button-hole^will give you this bar.
When you commence to work the button-hole begin at
the back end and work to the front edge of the garment
always. The button-hole shown in No. i is barred at
each end. This is done by taking up a tiny bit of the
material on the needle for five or six stitches across the
end, then turning the goods and working to the other
edges of the button-hole back to the other end where
a similar bar is ?*-itched as a finish. For the button
holes, Nos. 2 and 3 only the back end is barred. For No.

PLAIN SE WING AND FANCY STITCHES 121

2, which is used for dresses the front end of the button-
hole is just simply worked around in regular stitches.
The loops along the opening are, of course closely
crowded together, but the intervals of the stitches
should be regular at their outer edge.

If one round end is required as is shown in No. 3, a
punch is the best thing to use and in connection with
the sharp scissors, but when the punch is not at hand,
take up one or two threads on a pin at the circular
end and cut the pin out. This will leave a small cir-
cular place to work around with the same stitch used
on the sides.

All button holes should be dampened, (if the material
will permit) after they are worked and then thoroughly
pressed through a cloth. Large ones like No. 3, worked
in stiff lined cloth should have their edges drawn together
with a basting thread before pressing. After the press-
ing is done, the round punch should De run up and
down in the eyelet or round end to give the proper shape.
After which the bastings of the button-holes may be
removed and the appearance will be as above.

It seems almost unnecessary to go into the details
of the stitch used in working button-holes, but for the
benefit of any reader who has never seen it done we
give a minute description. Draw the needle with a
single thread through the cloth from the under to the
upper side of the cloth and at the back end of the but
ton-hole. In ordinary cloth the stitch should be taken-
about three threads in from the cut button hole edge.

122 PLAIN SE WING AND FANCY STITCHE S

About two threads further along take another stitch
holding the thread below where the needle comes out.
This gives a twirl to the thread of the stitch and this
must be held in place along the button-hole's edge.
The repetition gives the desirable cord-like finish to
the button-hole which covers raw edges and is very
durable. Care must be taken to make the stitches the
same size and the same distance apart. It is best not
to draw the thread too tight at each stitch.

THE BOUND BUTTON-HOLE

The bound button-hole is much vised for heavy cloths
and for garments made with interlinings, as well as
ordinary lining.

Our illustrations give one an idea of the process of
making a bound button-hole and again just how it looks

when finished.

When the garment demanding a bound

A FANCY BUTTON-HOLE

button-hole is lined and interlined, it is best to baste
all around where the button-hole is to be cut so as to

PLAIN SE WING AND FANCY STITCHES 123

hold all the parts firmly in one position in relation to one
another. In cutting the hole use your sharpest scissors,
or the sharp chisel can be employed in this instance
to advantage, for a clean even cut clear through is
most essential. Then take a narrow piece of silk,
satin, lasting or whatever is to be used for binding the
button-hole, and sew it securely all around the open-
ing. Draw the binding as tightly around the ends of
the hole as possible in this sewing. Then fasten the
two ends of the binding together and turn it through
the hole and hem its other edge down flat on the under
side of the garment.

A FANCY BUTTON-HOLE

We also illustrate two button-holes which are worked
in fancy stitches. They are simply ornamental but can
be readily worked from the plain pictures presented.

HOW TO SEW ON PEARL AND SIMILAR BUTTONS

Insert the threaded needle on the wrong side of the
cloth to which the button is to be attached, at about
three-quarters of an inch from the place for the button
and slip it between the goods to the required spot.
Then bring the needle out on the wrong side, and after

124 PLAIN SEWING AND FANCY STITCHES

fastening the thread securely by two or three stitches,
pass it through to the right side.

From underneath put the needle through the right
hand lower hole of the button and then through the
left-hand upper one and through the cloth, thus mak-
ing an oblique stitch and drawing the button into
place. From the under side of the cloth pass the
needle through the right hand upper hole and thence
put it through the left-hand lower hole and draw
it out through the cloth on the wrong side, and so
complete the cross-stitch. This should be repeated
four or live times more. Then pass the needle to the
right-side of the cloth under the button and wind the
cotton several times around under the button to form a
stem, which raises it a little from the cloth and also
strengthens it. Fasten the sewing on of the button
by three or four repeated stitches on the wrong side of
the cloth and, then slipping the needle to the right side,
cut off the thread.

CHAPTER X
UNDERWEAR

MATERIALS CUT, FIT AND MAKING CHEMISE DRAWERS

CORSET-COVERS — NIGHTGOWNS PETTICOATS — DRESS-

ING-SACQUES — WRAPPERS APRONS

MATERIALS

The articles composing a suit of ladies' underwear
vary according to the dictates of fashion. The stjde
and make of a dress must to a certain extent control
the style and make of the garment worn beneath it.
For instance, under a basque made to fit the form as
close as the skin of the wearer, a full chemise gathered
on to a band and with full puffed short sleeves, can
not be worn ; neither can a full round dress skirt hang
in the most desirable manner when a petticoat beneath
is gored to fit tight over the hips.

Before and up to the '8o's a set of ladies' underwear

consisted of drawers, chemise, petticoat and skirt with

the addition of a gown for night wear. These articles

are still and will always remain in vogue, but they

are not so absolutely worn by every woman as then.

125

126 UNDERWEAR

The wholesale manufacture of woven underwear
revolutionized the fashions in such garments. The
neatness of their fit, their admirable wearing qualities,
their comparative cheapness and their unlimited variety,
quality, design and size appealed to every women.

They have come to stay most probably. Indeed it
seems they only continue to increase in favor year after
year.

They come in silk, woolen, linen and cotton. In
shirts or vests, long and short sleeved, high and all
sorts of low necks. In drawers of different sizes,
shapes and lengths and in the combination garments
which var}^ as much in style and make. Even the much
abused tights are in the highest favor among the most
modest and best dressed women.

These woven garments mean a minimum of weight
in clothing and the freest use and development of the
muscles of the entire body. For the development of
the trul}^ artistic in dress they are of the highest import-
ance. They do not destroy the outlines of the human
form but are made and conform to the rules which are
in accordance to the truest lines.

The greatest obstacle reformers of woman's dress
encounter, is that the majority of their sisters do not
care to be conspicuous by any innovation. But the
wearing of this elastic and well fitted underwear does
not render them so.

However, in connection with and often independent
of, these "first principle garments," if we may term them

UNDERWEAR 127

so, are the additional pieces that must be provided for
every well dressed woman viz : the drawers, chemise,
corset, corset-cover, petticoats and the night-gown.

For these, silk, linen, lawn, percale, cambric, mus-
lin, flannel and other similar fabrics are used according
to the season, climate and taste of the wearer. Fashion
sometimes seems to exhaust itself in novelties for under-
wear and then she suggests colors in it by way of
variety, but, the best taste never accepts such an edict
and it as regularly dies a natural death, without much
more than a ripple of consideration. The first law that |
should govern underwear is purity,and dyes even of the
best quality do not give this nor do garments dyed even
in the most delicate shades of color suggest purity. The
fad at one time prevailing of entire suits of black under-
wear was certainly revolting and anything but whole-
some.

The use of the delightful China silk is responsible for
most of our colored underwear. When of the best qual-
ity this silk washes like cotton, even in the most fragile
colors as well as the white.

Some fastidious women prefer silk to any other
fabric, even fine linen, and for all the different pieces,
while others will tell you they can only use linen for
everything except nightgowns, when they choose the
China silk. Cotton cloths in turn have their devotees.
Of course thej^ are cheaper which is a recommendation
and they certainly do possess equal softness with silk
when as fine, and they wear as well as good linen.

128 UNDERWEAR

CUT, FIT AND MAKING

Whatever the material, the cut and fit of these gar
ments are usually the same. That is, a silk chemise is
cut and sewed in just the same way a cotton chemise
is done. In the long ago, when our grandmama's made
their chemises, they used all the material possible and
fulled it on to bands around the neck and arms, with
about two yards width around the waist. Drawers
and skirts were equally voluminous. A well dressed
woman should have her under garments as neatly and
snugly fitted as those worn over them.

In cutting out the garment, a good pattern is about as
indispensable as one for a dress. Still another gar-
ment that fits well can be utilized, if the cutter exer-
cises care and common sense.

Each garment should be basted together, tried on
and alterations carefuU}' made unless the pattern used
has often been used before. The daintiest underwear
is made by hand but very good garments and very
pretty ones are made hy machine entirely. The chief
objection one can make to machine made underwear
is that it is usually over trimmed and too fussy. Too
much tucking and ruffling is vulgar. Delicate daintily
made pieces of comparative plainness are to be alwaj's
preferred to over decoration poorly done. Whether
done by hand or machine all seams with raw edges
are stitched and felled.

In the chapter immediatel}^ preceeding both plain and
French felling, as well as other stitches are explained

UNDERWEAR 129

at length but for the convenience of tlie reader we
repeat. The best way to make the ordinary flat fell is
to sew the two edges together in an ordinary seam and
cut off the edge of one side one-half its depth ; then
turn the uncut edge over the cut or narrower edge and
then fold them down flat and stitch them into position.

Ready-made underclothing is usually made by using
the French fell for all its seams. It does not provide
as neat and smooth a finish as the ordinary fell which
is perfectly flat, but is a trifle more rapidly done and
wears very well.

To make the French fell lay the wrong side of the pieces
together and stitch them in a narrow seam, pare off
the edges smooth and close to the stitching, then turn
the pieces at the seam so that the right sides are
together and on the wrong ^de make another seam as
deep as the edges enclosed. This makes all raw edges
covered and firmly sewed.

THE CHEMISE

The chemise will probably never pass entirely out of
style although at times it is not generally worn. They
are certainly bidky garments unless neatly fitted and
made. They are made with the fulness required in
the skirt, gathered into a band over the shoulders or
they are made in what is known as the sacque shape,
which is a very neat, comfortable undergarment and
adds nothing to the size of the wearer. These sacque
shapes are cut to fit without fulness over the back and
front and four darts are introduced below the bust to

130 UNDERWEAR

shape it into the waist there. The armseyes are not
supplied with sleeves and only finished by embroidery
or lace. Some chemises have shoulder straps that but-
ton on and may be removed when worn under a low
corsage ; the garment being so closely fitted by darts
it does not need to be suspended from bands over the
shoulders.

The trimming of the chemise must be limited to the
neck and the end. Embroidery done of the material
itself is the most durable trimming but Hamburg and
Russian embroideries, Valenciennes, and Torchon laces
trim in an exquisite manner. The end of the chemise
may be finished by a hem two to four inches deep
or by ruffles two to six inches wide, which may be
edged with lace, tucks or embroidery according to the
material and the taste of the wearer.

Ribbons add a great deal to the beauty of under-
wear. They are used in narrow widths run through
casings of the material itself or through woven head-
ings which may be used with both lace and embroidery.
Then narrow ribbons are drawn through and tied in
coquettish loops. Bows and rosettes of wider ribbons
are set about on the shoulders or in front on chemises
at the will of the wearer.

In making a chemise when it has been cut, baste up
the seams and, if there are darts try the garment on
before stitching. Then sew up the side seams and
fell them down. Then hem or trim the end after which
finish the neck and armseyes.

UNDERWEAR 131

DRAWERS

If any difference is shown, drawers should be made
of heavier linen, cambric or muslin than any other
piece of underwear, as there is more strain upon them.
When closed drawers are used they should be made
with a deep yoke over the hips, thus bringing the
closing at the back below the stiff corset. The best
patterns for open drawers have an overlapping band
at the back and the seat is cut longer in proportion.
If this is not done the drawers are likely to draw
apart and not give the needed protection.

The lower part of the drawers admits of considera-
ble trimming. Clusters of tucks separated by feather
stitching, insertions of lace or embroidery and lace or
embroidered ruffles will all be seen on one pair.

In making drawers, first do all this trimming on each
leg and then stitch together and fell each leg. If they
are closed drawers, seam and fell the legs together and
then put on the yoke or band. If they are open draw-
ers, after the legs are closed, face each side with a
straight piece of the material and then join to the
band. Use medium sized flat pearl buttons for the
closings.

CORSET-COVERS

A corset-cover should fit as perfectly as a basque
and no better pattern can be found for a corset-cover
than a tried and true basque pattern.

Corset-covers are cut high or low neck as the wearer
chooses and a great number are high behind with open

132 UNDERWEAR

V-shaped or square-necked front. Sometimes very
small sleeves are added or else the armseye isfaced, or
scolloped or a narrow embroidered or lace edge finishes
them. The corset-cover can not be comfortably worn
over a chemise, the woven silk, lisle or wool vest
is its proper accompaniment.

It should be cut in the same number of pieces as a
plain round basque; which consists, for a medium sized
woman, of front, back and under-arm gores. When an
extra side-body piece is required to give the proper
curves at the waist to a basque, they must be added to
the corset-cover worn under it.

It should be basted together neatl}' and fitted before
its seams are stitched. During this fitting the neck
should be cut into the desired shape, if it is not to be
a high-neck cover. After a good fit is obtained, stitch
the seams and fell them. Either the ordinary flat fell
or the French fell ma}' be used the former being decid-
edly the better method, because it is a flat finish. The
front closing edges should be curved like a well fitted
basque and will in that case require to be faced. This
facing should be made wide enough to take a button-hole
and the cover should be closed with small pearl but-
tons and button-holes to correspond, about two inches
apart.

The bottom of the corset-cover should be neatly
finished by a narrow half-inch hem and the neck should
be given a half-inch facing unless the trimming gives
the necessar}^ stay. When Hamburg embroidery is

UNDERWEAR 133

used, the top of the corset-cover can be turned over a
half inch and then stitched down on the embroidered
edge.

This is the same as a facing but when lace is used
to trim, the facing of the same material as the cover
must be supplied.

NIGHTGOWNS

The style in nightgowns varies more than any other
under garment, but the gown made with the long
breadths gathered into a yoke is always in favor. The
square, round or pointed yoke may be cut over a basque
or high-neck corset-cover and a good fit obtained. For
serviceable and inexpensive gowns, fine muslin simply
trimmed with tucks and a lace edging can not be sur-
passed. The yoke should be made double with seams
on the shoulders and a closing in front. The shoulder
seam of four thicknesses should be stitched together so
that the seam is within. The seams of the skirt of the
gown should be felled. The French fell can be used
in this case without inconvenience. The sleeves should
be made and completely trimmed before they are
inserted in the armseye. The front of the gown should
be closed with small pearl buttons and button-holes
four inches apart. For more luxurious gowns ribbons
are used and tied instead of buttons and button-holes.
Silk, batiste, cambric, mull and other materials are
used and make very luxurious nightgowns. Ladies
who suffer from cold, wear gowns made of fleeced mus-
lin or piqu^ which are made with but little fulness

134 UNDERWEAR

and with only scolloped ruffles in the neck, front and
sleeves. The sacque-shaped gowns are best for these
with a pointed yoke placed as an under-facing for
extra warmth.

• PETTICOATS

Short petticoats are usually made with a yoke fitting
perfectly over the hips and stomach and closed with
buttons at the back. The straight breadths fall just
below the knee and whether made of flannel, muslin
or silk have but little fulness. The best flannel skirts
are made of flannel which is half cotton as it will not
shrink when washed. These seams are to be sewed
by hand and laid open, tacked into place by the simple
cross-stitch done in silk thread. The bottoms of these
skirts are usually embroidered. Scolloped edges of
embroidery do not wear well and the hem-stitched
flannel edges with embroidery above and a little lace
run along beneath is the prettiest finish. The full
part of the skirt is gathered where it is joined to the

yoke.

Short cambric petticoats are sometimes made with
a yoke also, but not always. They are often elabor-
ately trimmed with lace, embroidery and hand-stitching.
This is permissible as they do not receive the hard
usage the longer petticoats must.

Trained petticoats should never be worn ; they soil
immediately and never follow the train of the dress
and are generally all around nuisances. The petticoat
for wear under the ordinary walking skirt is cut three

UNDERWEAR 135

inches shorter than the dress-skirts worn over it.
It is made with front and side-gores and straight back
breadth. The top is finished by a yoke when the hips
are large enough to require it. The seams should be
stitched and over-cast and the bottom of the skirt
finished by a two-inch hem. The petticoat should
measure around the bottom two and one-half yards, for
a medium sized woman. The trimming of these skirts
should be done on deep flounces of scanty fulness ;
tucks, lace and embroider}^ being used together and
alone. The same ornamentation is applied to silk,
cambric and to cloth walking length petticoats.

DRESSING-SACQUES

A dressing-sacque is best made with a close fitted
back and a loose front. An ordinary basque pattern
that fits may be used as a pattern for tliese sacques.
However, in cutting the front parts do not curve the
closing edges and the darts need not be cut out or
taken into consideration at all. This gives the desired
freedom for the arms and body generally. Neverthe-
less some ladies use the first dart to draw the garment
in a little to the figure.

Whatever the style desired in that respect, cut the
sacque out of 5^our material, silk, wool, cotton or lace
as it may be, and baste up the seams and lay the hem
down each side of the closing in front. Try the gar-
ment on and if alterations are necessarj^, make them
before stitching the seams. After the seams are tightly
sewed, if the material is a cotton or linen fabric, fell

136 UNDERWEAR

them neatly. If heav}' silk or some similar material
that will not fray is used, the edges of the seams may
be notched in fine notches and the seams themselves
should then be pressed open flat. Cloth, cashmere,
flannel and most woolen fabrics are finished in this
manner. When the sacque is made of China silk the
seams should be finished as are cambrics and mull.
Generally full sleeves held in by a band at the wrists,
or simply flowing sleeves complete these garments.

Perhaps the daintiest dressing-sacques are made of
white nainsook and are trimmed with insertions of
both lace and nainsook embroidery and an edge of
gathered lace. Torchon and Valenciennes laces are
always the prettiest and wear best. Ribbons in white
or some bright becoming shade of color are knotted
and tacked on according to the taste of the wearer.
Sometimes belts of these ribbons are added but this
gives too much primness to a garment which should
be free and loose to be a typical dressing-sacque.

WRAPPERS

The garment called a wrapper conveys so widely dif-
fering meanings that it is difficult to give definite sug-
gestions concerning its development. The comfortably
fitted princess dress, however, is the best t3'pe of
wrapper and upon this the various changes of loose
fronts, Watteau backs, long and walking length wrap-
pers are rung. There are two faults into which wrap-
pers may fall, they may be made to be entirely too
negligee to be worn except as a dress for the bedroom

UNDERWEAR 137

and they may be made as elaborate as an evening or
dinner gown and so lose all characteristics of comfort.

But there is no prettier house toilette a woman can
provide herself than a neatly fitted princess wrapper
made to touch the floor several inches at the back and
to fit neat. A pretty becoming color and enough trim-
ming to give it a certain daintiness are all that are
required.

Cotton cloth wrappers are seldom lined and the seams
are long and often bias, consequently they must be
securely stitched and stayed.

French cambric makes the best lining when the
wrapper is made of silk or woolen fabrics. The bot-
tom of the skirt may be faced with the same. Noth-
ing heavier is required. The sleeves and neck are
finished just as a basque should be. If the front of
the wrapper is made to fit snug, then its closing edges
should be curved as those of a basque, and must be
faced, but when it falls loose, the straight hemmed
edges are easily finished. For invalids and for bath-
robes there are blanket wrappers made of thick and
fine colored blankets, with the woven border serving as
the only trimming. The border is usually only suffi-
cient to appear on the lower edge and as the pockets,
cuffs and collar. A very thick woolen cord and tassel
are added to hold the robe in at the waist. This wrapper
is usually cut with as few seams as possible.

APRONS

The simplest cooking apron one can make is a long

138 UNDERWEAR

square apron hemmed on the bottom, gathered at the
top and fastened around the waist by a narrow band
which ends in strings which are tied at the back. Two
widths of gingham or linen are required to make it.
To make the apron one yard long, two and one-quarter
yards of gingham are required. Cut off two lengths,
each thirty-nine inches long and gore one of them,
so that it makes two gores out of the one. As
gingham is alike on both sides, this will give a side-
gore on each side of the other width which will be used
for the front of the apron. Join the gores at the top
to the straight breadth, with their respective bias edges,
thus leaving their selvage edges for the back edges of
the apron. Stitch the two seams and over-cast them,
then pare off even the lower edge of the apron. After-
ward baste down a three-inch hem and stitch it in
place. Gather the top of the apron, make a band of
the six inches of cloth remaining and join the gathers
to it, for eighteen inches in the middle of it and fell
it down over all rough edges. This apron can be made
with a sewing machine in an hour's time. If a pocket
is added on the front of the apron and a square bib
above the waistband, another half yard of material must
be provided and then a most complete apron is the
result. Narrow, straight aprons made of one width of
linen cambric, silk or mohair are often made into
quite dressy affairs by adding insertion and edges of
lace or bands and edges of embroidery. Dainty little
aprons made of fancy towels and large sized handker-

UNDERWEAR 139

chiefs are also easily concocted, and the lace-striped
Swisses and piques, make most bewitching aprons when
knots of bright ribbon are given them on the bibs
and pockets.

CHAPTER XI

INFANTS' WARDROBES

HOW TO DRESS BABY A SIMPLE LAYETTE HOW TO MAKE

IT CAPS AND CLOAKS NURSE s' SUITS.

HOW TO DRESS BABY

In dressing baby the best rule is the golden rule
every time. Dress the bab}' as you would like to be
dressed if you were a little one. Heaven lies all about us
in our infancy, we are told, but how can it be seraphic
to be put through a summer, bound up in a bandage,
a diaper, a pinning blanket, two skirts with bands
like bandages and a long double* gown. It is no use
talking, a baby can not be angelic when he can not kick
one pink toe. In such rigging as enumerated above,
it is no wonder he protests with his lungs.

It seems strange that in everything else but dress-
ing baby, we have progressed beyond our grandmothers,
but when it comes to that, we find our bump of vener-
ation wonderfully enlarged. Grandmother dressed
mother in bands and loads of flannel, hence the new

baby must be made uncomfortable.

140

INFANTS' WARDROBES

141

All honor to our grandmothers, they did admirably
in the light they had, yet we must protest, that our
girls of to-day can do better. Grandmother dressed
baby too tight and too much.

"But, " says the old lady, "the baby must be bandaged
or he will be out of shape. "

AN INFANT'S WARDROBE
Trust the shape of baby to nature. She never does
her work in a careless way. The abdominal wall is elas-
tic and intended to distend, and if allowed to expand
evenly there can be no rupture. Then confiscate the
pinning blanket and so many long skirts. The objec-
tion to these is that they clotlie the chest and legs too

142 INFANTS' WARDROBES

warmly and leave the shoulders and arms Avith almost
nothing.

In our changeable climate it is a difficult thing to
dress the babies properly to meet the demands of cool
nights succeeding hot days, and sudden changes within
an hour. However, if they are neither over-dressed
nor under-dressed, much can be done.

It is with genuine pleasure all lovers of babies note
the increased enthusiasm on the subject of comforta-
ble by clothes. The idea of "Reformed clothes for
Babies" has taken as firm hold of the feminine com-
munity as has the "Reformed Dress for Women," and
mothers are putting their common sense to work and,
while they buy many pieces, they make the rest or
have them made as they should be.

The principle of such dressing is extremely simple.
It is to have nothing that frets or binds the small
bunch that is to be kept warm. It is now held that
innumerable colics and griping pains are made by the
tight pressure of the flannel bands about the tender body,
which really also occasion too much warmth, and which
the old-time nurse thought good for nothing if not
bound with a grip of iron about the little bowels, as if
they would fall to pieces but for its maintaining
strength. Many a rupture in later life, can no doubt
be traced to the use of this heathenish garment, which,
if it is not yet abolished altogether, is treated in a very
different fashion, being more frequently knitted of soft
elastic wools, than stitched in stout flannels, and

INFANTS' WARDROBES 143

allowed to give warmth and not expected to yield
support.

The long skirts, too, in the hands of those mothers
who are more careful of their babies than of their
vanities, are going the way of the old fashions, and
it is no longer demanded of the tiny limbs that they
shall uphold all that hanging weight of embroidered
flannels and tucked cambrics and wrought work — poor
little limbs that have often been still futher maltreated
by never being allowed temporarily to support the
weight of the child, until they are suddenly called upon
to do so when the child has become so heavy as to almost
surely bend them by the weight. Nowadays the pet-
ticoats are shortened very early and the baby is never
found less lovely nor less able to rule the house in its
pretty shoes and stockings than in its cloud of draper-
ies.

A SIMPLE LAYETTE

Every baby should have provided for it at least three
wool shirts. These are now to be purchased woven
in fine ribs, of excellent shape, with close neck and
long sleeves. They are very elastic and slip on and off
easil3\ They are long enough to come well down over
the body and provide sufficient warmth and protection
from stray drafts.

Two soft flannel skirts with bands fastened at the
back and straps over the shoulders and as many cam-
bric skirts must also be provided.

Six slips of cambric, cut sacque shape, are properly

144 INFANTS' WARDROBES

for night wear but likewise serve at first for day dresses.
A fine flannel wrapper and two soft cashmere sacques
shcul-d also appear, as well as one cambric dress, with
a )^oke. A dozen squares of linen diaper and a few pairs
of knitted socks or boots complete the simplest of
layettes.

HOW TO MAKE IT

The flannel skirts are made of two lengths of white
flannel, seven-eighths of a yard long. They are seamed
together with silk thread, the seams neatly pressed
open and catch-stitched down. A deep hem secured b}'
a pretty fancy silk stitch should finish the bottom. At
the top the breadths should be neatly shirred and joined
to a band twenty inches around the bod}'' and four
inches deep.

This band should be provided with two tape bands to
pass over the little arms. Safety pins are used to close
it at the back; buttons and button-holes can not be used
to advantage as the size of the tiny body will vary-ever}^
day.

The little cambric skirts are made in the same way,
except that the hems are felled into place and a row
of gathers is all that is required at the top of the
breadths.

The slips are made open in the front the entire length.
The four seams, two shoulder and two under-arm seams,
should be neatly felled. These fells must be "made
small and soft. A narrow hem should finish the fronts
and bottom of the slip as well as the small sleeves.

INFANTS' WARDROBES 145

The neck must be faced with a narrow bias piece of the
cambric and a fine drawing-string should be run through
it. Four small pearl bottons with corresponding but-
ton-holes, placed two inches apart beginning at the neck
are all the closing required. Below them the slip may
hang free over the cambric skirt beneath. A little nar-
row lace on the neck and sleeves is all the trimming
allowable. These slips should be, however, made with
the daintiest neatness. When made by hand alone
they are most in keeping with lovely bab3'hood.

The flannel and cashmere wrapper and sacque are
made with as few seams as possible and they should
be pressed open and catch-stitched with silk. Their
edges should be button-holed or pinked in small scol-
lops. The wrapper should be sacque shaped and one
yard in length only.

Some mothers make the mistake of using colored
flannels or cashmeres for these garments. Don't use
even the lightest tints. The dyes are likely to stain
the tender flesh and white is the on/y thing for baby-
hood.

The first cambric dress should have a yoke of fine
tucks and a skirt one yard long gathered on to it. Fine
tucks and lace-edge should finish the bottom of the
skirt and sleeves and the neck of the yoke. It should
be closed at the back by knots of white satin ribbon.
The cambric sash sometimes added is not pretty or
appropriate. The finest cambric, lace and needle-work

146 INFANTS' WARDROBES

is not out of place on this garment, but too much work
and lace are.

The linen squares are simply squares the size of diaper
width. They will have two selvage edges and the
other two must be finished with flat, soft hems.

Always keep soft socks on the baby's feet. If allowed
to rub his bare feet together constantly, he is liable to
have crooked or bow-legs. If already so inclined, the
tendency is greatly increased.

These socks or bootines may be made of cashmere, cut
in one piece with a felled seam running along the sole
and up over the toes, or they may be knitted or cro-
chetted in Saxony wool. In every case let them be
pure white.

CAPS AND CLOAKS

Caps for infants to wear outdoors are made of muslin
or of silk. They should never be worn indoors. Pretty
French caps are made of fine India muslin with tucks
in the center and shirrings to draw them into shape
around the face and head. Simple little frills of the
muslin edged with lace are the trimmings, with a
rosette made of the same, placed on top. These are
made quite warm by adding a lining of China silk, or
still warmer by a quilted silk lining.

Cloaks are made in both cape and sacque shapes.
The sacques with round or square yokes are perhaps
most popular always. Silk, cashmere, flannel and
repped piqud are the materials used and lace or em-
broidery are the appropriate trimmings. Knots and

INFANTS' WARDROBES 147

ties of white satin ribbons add much to their dainti-
ness, whatever the material used.
nurses' suits

A nurse's suit consists of a cap, apron and cloak to
be worn over a plain dress. The cap has a mob crown
of a white swiss or India muslin, plain or embroidered.
Some erect frills of the same material placed across
the front are the regulation style, but a gathered nar-
row ruffle on all the edge is also used as a finish and
strings to tie behind are added generally. The apron
is made of two straight breadths of wide Victoria lawn
with two or three broad tucks across the bottom, or
some wide embroidery may finish the edge. The
breadths of lawn are gathered at the top and joined to
a band that has ordinary strings to tie at the back.
It should always be long enough to reach to the
bottom of the dress over which it is worn. The cloak
is made of cloth or flannel in brown, maroon or gray
generally, and is of deep circular shape. It should
be as long as the dress and shirred from the neck to
the shoulders or gathered on to a round yoke. It should
be completed at the neck by a full white muslin scarf
or neck-tie, Hemmed by a narrow hem along the sides
and a deep hem-stitched hem on each end.

CHAPTER XII
CHILDREN'S CLOTHES

AMERICAN MOTHERS SHORT CLOTHES SMALL BOY's

CLOTHES DRESS FOR GIRLS AN APRON

AMERICAN MOTHERS

In no country is so much attention paid by mothers
to the dainty costuming of their little ones as in Amer-
ica. French women are as a rule too vain and frivo-
lous to care how their children are dressed, and when
they do think of it, they array them in impossible
garments often low-necked and short-sleeved and with
ballet like skirts reaching to the knees, and their
unformed little bodies are cramped into tight-fitting
spider-waisted bodices, the counterpart of the whale-
boned ones of their mammas. In England, where the
rising generation is kept strictly in the background,
sensible but homel}^ and inexpensive dressing is the
rule, and English children are generally little frights
in brown Holland pinafores and stuff gowns. In Ger-
many economy is paramount, and a dark woolen or

148

CHILDREN'S CLOTHES 149

linen garment which will not "show dirt" is the ordi-
nary attire of the flaxen-haired little maiden. In spite
of this marked tendency to simplicity, we owe much
of the picturesque beauty of the modern child's dress
to the clever English woman, Kate Greenaway, the
illustrator of the familiar nursery rhymes. Dress the
children prettily, but do not make dolls of them (this
refers mostly to little girls) ; childhood, like "beauty
unadorned is adorned the most." A child that is be-
decked with silks and rare laces loses that chief charm
of childhood, simplicity, and one ought as soon think
of dyeing the russet gown of the dear little Jenny
Wren. Few children are unattractive in themselves,
but many are made so by the lack of good, sensible
taste shown in their dress by those having them in
charge. A neatly-dressed child is a pleasant sight,
but one loaded down with silks and laces is really to
be pitied. To be sure, for a best or company dress,
it is allowed to have as rich a material as is consistent
with the purse of the parent, but it is this over-dress-
ing during play or school hours that is harmful to the
child both physically and morally. Physically, as she
can take but little part in the games of her compan-
ions when she is afraid of soiling or rumpling a nice
dress ; consequently, she loses that exercise the lack of
which, in after years, will have so damaging an effect
upon her constitution, leaving it fragile and delicate.
We have in mind the case of a little girl, beautiful
in both face and disposition, who, having lost both

I50 CHILDREN'S CLOTHES

parents when she was but two years of age, and not
having any near relatives, at least none that appeared
to want to take the care of her, was adopted by a
wealthy lady. This woman never had any children of
her own, so she could scarcely be blamed for trying to
make the child happy, as she thought, by clothing her
in the richest kind of fabrics, trimmed with rare laces
and ornamented by broad, heavy sashes. During the
summer months, when other little ones, clad in cool,
loose-fitting garments, played about, she sat or walked
with the nurse-maid in the shade, and watched them
wistfully. She could not take any part in their merry
games, for she was loaded with finery and must not
crumple or soil her clothes, and after a little while she
had no desire to join them, but would walk by them
with uplifted head, manner and gait, in imitation of
some popular society belle. Yes, dress the children
sensibly. The world has no place for miniature soci-
ety belles j it wants natural, lovable little children.

SHORT CLOTHES

The first short dresses for boys and girls are usually
made alike. They are yoke slips just long enough to
reach to the ankles when the child stands. The same
materials may be used for them as are used for the
long dresses of infants. These are put on when the
child is six months of age. When it is eighteen months
old, belts may be inserted in these little dresses although
the slips are often continued until the child is three
years of age.

CHILDREN'S CLOTHES

151

Fashion dictates whether their skirts shall be long
or short but just here a protest may be entered against
the long ones.

There is nothing more conducive to the health and
happiness of children than the free use of their limbs.
When the long unfolding skirts are worn they are
hampered in every way. The baby can not kick, the
two year-old little ones have their motion impeded and
the four-year-old child can not run because her clothes
hold her back.

SMALL boys' clothes

Bo3's should wear trousers as soon as
they begin to run easily. The Knick-
erbocker skirts must be retained until
they are large enough to run around out
of doors but after that time small boys
should be given all the freedom of move-
ment consistent with the necessary
warmth. Mothers may without fear listen
to the requests of the little fellows to
give up the kilted skirts. It is, of course,
from the commendable desire to be men that the small
boys beg for trousers, but it is also because their skirts
are bothersome.

The pretty little sailor suits with the long trousers,
which fit snugly above the knee and are given a nau-
tical spread at the ankle, are the more sensible and
the prettiest suits for small boys. The union suits of

152 CHILDREN'S CLOTHES

underwear, can be obtained in qualities to suit the
various seasons and are the best underwear that can
be provided. They are as pliable as Jersey cloth and
give with every movement of the body. Long stockings
held by straps which pass over the shoulders and broad
spring-heeled shoes are the proper covering for the
feet.

Little boys' overcoats and hats or caps should cor-
respond. The smaller boj^s are generally given a cape
over the shoulders of their overcoat but boys from nine
to twelve discard this and wear long sack coats but-
toned up in single-breasted fashion.

As regards dyes for either boys or girls light colors
are more healthy than dark, since they contain less
coloring matter, and fast dyes are safer than those
which fade rapidly. Indigo-black is a very "fast" dye,
and is therefore better than blacks obtained from log-
wood. Logwood has a peculiar effect well known by
dyers, in that it deprives the skin of the sense of feel-
ing. Dyed materials are least injurious when there is
least perspiration and they should be especiall}^ avoided
for dresses to be worn during exercise. White, therefore,
besides being the prettiest, is the most healthy color
for summer and other dresses.

This matter, with regard to color, applies particularly
to underwear, but where it can be done economically all
children's clothing should be white. The little sailor suit
shown on the preceeding page is very pretty made in
white serge or flannel, as is also the little girl's dress
shown opposite.

CHILDREN'S CLOTHES

153

DRESS FOR GIRLS

In choosing materials for girls' cloth-
ing care should be taken to secure
warmth without adding weight. They
should also be inexpensive and strong,
so that the child may not have to be
forbidden healthy play lest its clothes
should be spoiled. No really loving
mother will prefer the welfare of the
clothes to the welfare of her child.
Woolens of lighter or greater weight
according to the season are the best materials for
children's dress. Aprons made of white cambric and
pretty ginghams afford all needed protection from dirt.
Girls and misses up to twelve years always look
well and sufficientl}^ fashionable in dresses made with
round full skirts and round waists with long full or
coat-sleeves. They are easily made and readily
laundered.

For such a dress the skirt is quite straight, com-
posed of two or more widths of material firmly run
together. The bottom of it is finished b}' a hem about
four inches deep, and above it may be a number of
tiicks, grouped according to taste. The opening at the
back, six inches deep, is made in the midde of the
width, hemmed and wrapped right over left in the
ordinary way. The top of the skirt is gathered and
sewed oh to the waistband of the body. The body
consists of five pieces, viz., one front, two backs, and

154 CHILDREN'S CLOTHES

two sleeves. The seams on the shoulders and under
the arms are neatly and thickly stitched, the raw edges
are trimmed with the scissors, and overcast either singly
or in the double.

The backs are strenghened by a one-inch deep hem,
and fastened with excellently worked button-holes and
as many little buttons. The bottom of the front is
gathered for a short distance on each side of the mid-
dle to give a small amount of fulness over the chest.
The neck and the waist are finished by a half-inch
band, often put on with a piping, which greatly adds
to the strength as well as to the neatness. These bands
may form cases for tapes by which to draw the body
up so as to fit each individual wearer. The armeyes are
carefully curved and roomy. They measure large around
to permit free movement of the arms. The sleeves
are gathered both at the top and bottom, and if full,
form a pretty puff,, and the fulness at the bottom is set
into a narrow band. They are firmly stitched into the
armeyes, the raw edges are pared and then thickly
overcast.

AN APRON

A child for all ordinary occasions never looks neater
or more attractive than when wearing a pretty little
pinafore apron over her dress. It is simple yet
pretty in shape and is easily arranged. It may be
made of print, cambric, checked muslin, diaper, hol-
land or any similar fabric about thirty inches wide.
They are always made to button at the back. They

CHILDREN'S CLOTHES 155

are hemmed in a narrow hem all around and tied with
strings fastened in at the sides, in a bow at the back
which forms a modest sash. A little strong lace or other
trimming sewed on all edges finishes it neatly.

SUMMARY

The choice of children's clothing should never be
left to nurses or outfitters ; but the mother, be she
never so rich and fashionable, should superintend it
herself, so as to be sure that every garment worn by
her little ones is both healthy and comfortable. We
must never let children wear clothes they have out-
grown. Boots must always be made to fit, by good
makers, and of the expensive material called glove-kid,
and each child ought to have two pairs, which should be
worn on alternate days, in order to prevent that mold-
ing of the foot to any peculiarity in the shape of the
boot, which may happen if it is worn constantly.

The little ones must have clothes suitable for every
kind of weather, so that they may never be kept
indoors because they have nothing fit to go out in.
They must have changes of clothes in case they come
in damp. And last but not least, however great the
damage may be to clothes, nothing must induce us to
interfere with the little one's romping play.

From the foregoing it is clear that the first principles
to be obeyed in the clothing of children are the preven-
tion of undue loss of animal heat b}^ the use of apparel
so contrived that it shall not hamper their movements ;
and cleanliness. Both these principles may be obeyed

156 CHILDREN'S CLOTHES

equally by rich and poor : for clothes may be made
even more easil}'^ on a rational plan than in the com-
mon way, and soap and water are decidedly inexpen-
sive ; but people must devote time and thought to the
subject.

CHAPTER XIII
DRESS TRIMMINGS

BIAS BANDS PLAIN BINDING AND FRENCH HEM ROUND

PIPING — CORD-EDGE — DOUBLE CORD-EDGE STRAPS AND

BANDS — FUR TRIiMMING — FLOUNCES PLEATING

BIAS BANDS

Bias bands and rouleaux are modified or perfected
bindings and cordings. They are always cut on the
cross, or bias, and form very neat and eleganttrimmings
for woolen and silk materials, but they are not at all nice

for washing materials, because they will often shrink,

*
and always be flattened out of all elegance in the iron-
ing.

Very great care must be taken to cut the material
for bias exactly on the cross, folding together the
selvage and raw edge of the material, then cutting
along the corner piece thus formed, taking care to
measure accurately all along the width of the first bias.
This can afterward be pinned over the material as

many times as there are strips wanted ; they will thus

157

158 DRESS TRIMMINGS

be all exactly alike. The strips are next sewed together
along the selvages and the seams ironed flat.

The sewing on of bias is no easy task, especially to
beginners, when the material is soft and limp. It is
then necessary to pin or tack the bias very carefully
to avoid its puckering or stretching.

When the bias is meant as a border or binding, it
must be laid upon the right side of the material wrong
side uppermost, as low under the edge as it is neces-
sary for the intended width of the bias. It must be
run very straight and even, then the bias is turned
down and hemmed in slip-stitch on the wrong side.

In sewing the bias band on the dress, care must be
taken not to stretch it, for being on the cross it will
allow itself to be stitched entirely out of shape with
the slightest pulling. It must be eased in sewing
enough to make it lie easily but without puckering.

Lay the band with its right side against the right
side of the skirt or tunic, just above where it is to be
when finished. Run the ^ower edge of the band tc the
garment evenly and straight, and without pulling
the band. When this is done, turn the the band over,
tack it smoothly in place, and hem the second edge
(now the lower of the two) under, on the wrong side
of the garment. The second illustration, on the oppo-
site page, shows the band run to the skirt and turned
over in place. The lower edge must be turned under
and hemmed at the back.

Stitched Bias Band

DRESS TRIMMINGS 159

The stitched bias band is made
of a bias band with its two edges
turned in and tacked together
one below the other. It is then
sewed to the garment with the

machine, the mathine stitching following the line of

tacking.

Anothervariety of stitched
bias trimmingis illustrated,
made in two materials.
The upper half is doubled

Bias Band IN Two Materials and tacked tO the garment.

Over this the upper edge of the second band is tacked
wrong side upwards. Afterward this band is turned
over, its lower edge turned under and tacked in place
as illustrated.

As a rule, bias trimmings should be made of differ-
ent material than that used for the garment trimmed.
Velvet and silk make beautiful trimmings on woolens.
Velvet should never be put on velveteen and woolens
do not look well on woolens, unless they are of vivid
contrasting color or elaborately figured or embroidered.

PLAIN BINDING AND FRENCH HEM

To make plain-binding, you must cut a strip of silk,
on the bias, of twice the width you want for your bind-
ing. Double it, and run it on the right side of your
flounce or cuff, keeping the raw edge of your binding to
the raw edge of your flounce. Then turn the binding

i6o

DRESS TRIMMINGS

over, and fell it down on the wrong side, taking care to
let no stitches be seen below the run on the right side.

PLAIN BINDING (nO. I)

The reason why this binding is made double is, that
it so stands off with a handsome roundness. This
binding is most used for bows and flounces, and other
light trimmings, while the French hem suits better

«i|flfP^«ifif«

PLAIN LIXDING FINISHED (nO. 2)

for finishing a dress at the bottom, or for edging a
cape, or the front of a plain cloak. French hem is
made like plain-binding, except that it has a cord at
the upper edge. This cord is run in, on the right
side of the article to be trimmed, and the strip is
then turned over, and felled down at the back.

£>/^£SS TRIAIMINGS

ROUND PIPING

Round piping looks simple enough : but it is far
from easy to make properly. It is illustrated in Chap-
ter IX. It is made of a strip of bias about an inch
wide, doubled and folded, and folded again till it is
round, when the edge must be hemmed down. The
difficult}' is to prevent its twisting, so that the hem winds
round and round the pipe. This can be prevented only
by carefully cutting the silk on the right bias, and of
an even width, and by folding it with great regularity.
This kind of trimming is sometimes convenient for
covering hems and joins, for finishing sleeves at the
wrist, etc. Sometimes it is used for embroidering the
bottom of the skirt, or the front of the body of a gown
or cloak.

CORD-EDGE

The strip of silk or satin of which cord-edge is made is
cut on the cross, or bias, as it is called : that is, neither
straight along by the selvage, nor off the breadths,
but between the two. Cut in this manner, the strip
stretches easily, and can be turned this way and that,
without puckering, as a straight piece never does.
This strip is generally about an inch wide. It should be
quite evenly cut ; and several lengths should be joined,
before you begin to make the cord-edge. The black or
white cord, of the length required, is laid along the
middle of the strip <si silk ; the upper half of the silk is
folded down over the cord, and the two thicknesses of

1 62 DRESS TRIMMINGS

silk are tacked together, so as to enclose the cord
between them. What you have chiefly to look to is
that your joins are neatly made, so that they will
neither give way, nor show an}^ of the white of the
selvage ; and that the two edges of the silk are kept so
even as that the cord shall never be left bare, either on
the upper or under side. You will also avoid leaving
long thread-ends, which will annoy those who are to use
the cord-edge.

Cording is illustrated on page 113. When the cord-
edge is to be made of merino, or of any twilled
material, care must be taken to cut the strips on
such a bias or cross, as that the twill may lie across
the cord instead of running along it. The first
looks neat, the latter particularly ugly. It is a temp-
tation, when small bits of silk are lying about, to take
any that are on any cross, for making cord-edge. But
the same piece of cord-edge should be made of strips
cut all on the same cross. Two bits, one cut from left
to right, and the other from right to left, may have
quite a different shade when joined, so as to look as if
they did not come off the same piece.

DOUBLE CORD-EDGE

A learner does this by tacking together two single
cord-edges, leaving one a little below the other, A
more experienced hand makes double cord-edge with
less waste of time and of silk. She cuts the strips
rather wider than for a single edge, runs a cord into
each edge, and then, in using the edge, sets the two

DRESS TRIMMINGS i6j

cords on together. Double cording is illustrated on
page 113.

STRAPS AND BANDS

Straps and bands have commonly to be stiflened. A
piece of buckram is therefore cut of the same size as
the silk ; a cord-edge is set on at both edges, and turned
down on the wrong side, which is then to be lined with
a ribbon, or bit of silk. Some corded straps, intended
to confine the fulness of the sleeve or body of a dress,
are made without stiffening ; and from this, from being
very narrow, and from being always on the cross, are
more difficult to make than waistbands, which are
always stiffened, always cut the selvage way of the
sil'k, and sometimes made without cord-edges. Broad
or narrow, you must be careful to keep your strap or
band of exactly the same width throughout.

FUR TRIMMING

The fur which is used to trim the different parts of
a dress, cloak, or shawl, comes into the dressmaker's
hands so prepared, that she has little to do but to fix it
on. It is sold by the furrier in the proper shapes and
sizes for collars, flouncing, and bordering.

A fur flounce is fixed only at its upper edge, b}'
being felled down, the lower edge remaining free.
If the fur be in the form of bordering, for edges, it is
felled down at the inner edge, like a flouncing, and
the lining of the garment is run against the other edge.

A fur collar has generally to be lined with silk,

164 DRESS TRIMMINGS

before it is set on. It is slightly wadded, to preserve
the silk from being rubbed and worn by the leather.
The raw edge of the silk being turned in, the lining
is then run with a double running, against the back
of the fur. The collar is then stitched to the cloak,
and the lining felled down, or the join is backed by a
stout ribbon.

FLOUNCES

Flounces form such a pretty becoming trimming for
skirts, they are alwa5's regaining lost ground when
some newer fashion has turned them for a moment
from the field. There is a great variet}' of flounces
possible^ trimmed in various ways, or with pinked
edges if the fabric admits.

Gathered flounces on the cross can be hemmed or
edged with a bias band of another material. A flounce
of cashmere cut on the cross looks very pretty edged
with a bias band of silk to match, or of a contrasting
shade. The bias band could be of striped or fancy
silk. This ornamental binding is put on exactly in
the manner of the bias bands as explained above.

Flounces on the straight, gathered or pleated, are
very effective bound with braid, a method often pur-
sued for serge dresses. Gold braid on white cashmere
and silver braid on pale blue or pink, has also the
happiest effect for evening dresses.

PLEATINGS

Pleatings of all kinds must be cut on the straight of

DEESS TRIMMINGS 165

the fabric. No pleats made of bias material will
remain in their folds.

Cut the strips for the pleating as wide as desired
across the goods, and three times as long as the fin-
ished pleating will be. In other words if the pleat-
ing is to be one yard long when completed, the strip
for pleating must be cut throe yards long. Join together
in narrow seams, the breadths of goods required to
give this length.

The lower edge of the pleating may be finished by
a hem, either machine stitched or blind stitched
according to the material. Silk pleatings should never
be machine stitched, while some woolen fabrics look
much better finished in that manner. The upper edge
may be hemmed or it may be overcast to keep its
threads from fra3'ing and then turned under the width
of a neat heading.

There are many patented contrivances by which
pleatings are made in a very exact and rapid manner,
but when they are made by hand, the way is simply and
easily learned. When the seams joining the breadths
are stitched they should be pressed open flat. Then
the hem must be laid and stitched and the upper edge
turned over and basted. These should then be pressed
flat with a mediumly warm iron. Then lay the lower
edge in regular pleats the desired size and baste them
in place with finer thread. Then "treat the upper edge
in the same manner making its pleats correspond with
those of the lower edge. For pleatings narrower than

1 66 DRESS TRIMMINGS

eighteen inches these two bastings will be all that is
necessary.

When this is completed the final and all important
pressing follows. A damp piece of muslin is first laid
on the pleating and the hot iron passed over it, then a
dry pieces of thin muslin is laid on instead and the
iron used until the pleating is pressed perfectly dry.

The bastings of the pleating should not be drawn
out until the trimming is secured in place on the gar-
ment. It is the best policy to leave the basting in the
lower edge until the garment is about to be worn.

There are many varieties of pleatings. The fine
knife-pleating, the ordinary side-pleating and the dif-
ferent sized box-pleats are all familiar trimmings and
they are all treated in the same manner. They are
often caught together in fanciful ways and make novel
garnishments, but as these vary with prevailing fash-
ions, we can not give space to them in a work of this
kind.

•

CHAPTER XIV
SPECIAL COSTUMES

RIDING HABITS CYCLING COSTUMES BATHING SUITS —

DRESS FOR BUSINESS WOMEN — ARTISTIC AND REFORM

DRESS TO DRESS FOR THE PHOTOGRAPHER

RIDING HABITS

Many improvements have taken place in ladies'
dress for horse exercise. The long habits formerly
worn were alike objectionable and dangerous : for they
become soiled and splashed when riding on wet roads or
across country ; and by catching against chance objects
frequently led to the rider's being thrown or injured.
In case of accidents, also, they were very much in the
way, entangling the rider's limbs, and embarassing
the horse's movements if it fell.

The skirt should be longer than just to cover the
feet and the material chosen should be as light as pos-
sible. From tweed or serge, much more comfortable
habits can be made than from heavier cloths, and the

waist is thus saved from the drag of a heavy skirt.

167

1 68 SPECIAL COSTUMES

For the same reason the upper portion of the skirt and
trousers should be well shaped to the figure.

The best authorities declare that for riding, as for
other exercise, the body should be clothed entirely in
wool. The habit should invariably be lined with
flannel, and this plan is successfully adopted by many
tailors. The trousers as well as the jacket may be thus
lined throughout, and when it is done, all the under-
clothing that is required is a woolen combination suit.

There are many styles of riding habits but in all, the
short, scant skirt is used, as is also the extremely
plain bodice, and the trousers are long enough to strap
under the boot or else short knee-breeches are used
with top-boots.

The bodice of a habit that will be always in fashion
ma)^ have high standing collar buttoning close to the
throat, or else it may have the "step collar," notched
and open at the throat (precisely like that of a man's
morning coat), for wearing with a white chemisette
and necktie. What are perhaps the most acceptable
bodices, button ciosel}^ up to the throat, and are can-
vassed throughout, the front edges curve outward, are
double-stitched, and are further rounded out or fash-
ioned by the tailor's iron. When made in tailor fashion
the cloth of the bodice is fitted to the wearer, and is
bound in all the lengthwise seams. The satin or flan-
nel lining is then made up separately, and all its seams
are concealed, as they are set inside. A good plan is
to add a "corset belt" in front, sewed in the under-arm

SPECIAL COSTUMES 169

seams at the waist-line; this is pointed like a girdle
at top and bottom in front, has several whalebones,
and is laced closel}^ The close coat sleeves have two
[)uttons and button-holes at the wrist. The high col-
lar is stiffly interlined. Two buttons define the waist
line in the back.

The habit skirt is about eighty inches broad at its
greatest width, and the top should fit without a wrinkle
when the rider is in the saddle; it drops within two
inches of the floor when she stands. It is shaped by
curves and cross cuts to fit over the right knee, and
to allow room for the pommel. Inside the under half
of the front is a loop in which the right boot of the
rider is thrust just to the toe ; on the back of the skirt
is another loop, which is fastened under the heel of
the left boot ; these loops keep the skirt smooth and
liold it in place. The long trousers are seated with
chamois, and are attached to a wide satin waistband
shaped out over the hips, which laces in the back to
give greater latitude. Short breeches have a similar
waistband, and are made long enough to button just
below the knees, each leg buttoning differently, that
worn on the right leg buttoning inside, while that on
the left leg fastens outside, so as not to come between
the limbs and the saddle. By referring to Chapters IV.
and V, the reader will find many suggestions which
will be helpful in adjusting tailor-made habits.

The tweed habits for the country are very light in
weight, and made cooler for midsummer by having the

I70 SPECIAL COSTUMES

open-throated notched collar ; they also have a pleated
postilion at the back. School-girls have tweed habits
made with a Norfolk jacket of narrow pleats, instead of
the stiff bodice worn by ladies.

A plain linen collar and simple brooch accompany
the riding toilette. The high silk hat is worn in the
Park, but Derby hats of black felt are worn in the
country. The hair is arranged in a very small twist or
coiled knot or else it is in slender plaits placed round
and round close against the head. The thick double-
stitched gloves have gauntlets added, or else they are
closed at the top and buttoned at the wrist, or they may
be the loose glove, which is drawn on the hand easily,
worn large and is without buttons.

Hunting habits are made of heavier cloth and should
be especially thick and strong enough to carry the rider
through brambles and over fences without a tear. A
gay collar and vest of "English pink" cloth — which is
bright scarlet — are sometimes added to hunting-habits.

CYCLING COSTUMES

Cycling is having a salutary effect on the general
dress of women, for to ride comfortably the dress must
be light and easy in every part. Heavy skirts hang-
ing from the waist would inevitably produce back-
ache, and tight stays would be too painful to be borne.

Neat, dark cloth costumes, ulsters or jackets, with
small felt or cloth hats to match, are suitable for cycle
wear, or dresses of those brownish materials which do
not show the dust of the road. Until cycle riding has

SPECIAL COSTUMES 171

become more common for ladies in great towns, tliey
will hardl}' care to go about in such bright costumes
as one uses for carriage wear, as by so doing they
would obtain more notice from passers-by than would
be altogether agreeable. There have been many inven-
tions presented of costumes peculiarly adapted for cyc-
ling. They refer almost always to modifications in
skirt, the object being to have a skirt which will look
all right when standing or walking but which will also
allow extra fulness over the knees when seated and
running a wheel. The first of these dresses show at
the right side of the skirt some bows of ribbon, and
these, when the wearer is walking, hide the secret of
the dress. When she mounts her iron steed, all she
has to do is to unfasten some buttons which are cun-
ningly concealed beneath the bows, and at once she
has a skirt perfectly adapted for C3'cle riding. It is
constructed on the same principle as the riding-habit
now worn, with room for the raised knee, so that the
skirt does not draw up with the movements necessary
to propel the wheel. The part which is buttoned
over is cut with a deep curve, so that when buttoned,
the bows, which are seen on the right side are in the
center of the skirt. The part that was folded over
gives extra width to it, and the curve which is now in
the middle accommodates the knee as it rises. Like
the riding habits mentioned, these dresses are lined
with flannel, and the ideal way of wearing them is
with woolen combination suits next the skin, a stayed

172 SPECIAL COSTUMES

body, fitting closely to the figure to take the place of
stays, and buttoned on to this a pair of knickerbockers
or trousers of cloth to match the dress. Of course,
these unmentionables do not show ; but a lady clothed
in this way is better able to face the risks of accident
than one in petticoats, which are liable to hamper her
movements. Moreover, this method of clothing gives
a sense of lightness and freedom which can never be
enjoyed by one dressed in the ordinary way.

Another wheel dress is more like a cloak or wrap. The
upper part of it is made like a Norfolk jacket to which a
plain skirt is attached ; a deep kilting is inserted the
whole length of the skirt in front. When the wearer is
seated the pleats are free and allow extra room for the
knees. There is something very chic about this dress,
and it is suitable for rather cold or wet weather, when
it may be used as a winter mantle, or to take the place
of that valuable but ugly contrivance — the waterproof.
Although so different in appearance, these dresses are
all made with the same design, that of providing com-
fortable and healthy costumes for lady riders.

Tight-lacing must be banished from the mind and
body of the woman who would ride the iron steed ; but
since dresses for cycling should be becoming as well
as healthy and comfortable, although room must be
allowed to give perfect freedom to every movement, a
really accurate fit, such as can only be given b)^ great
care is required.

These dresses, while suitable for cycling when made

SPECIAL COSTUMES 173

in becoming colors answer as well for riding, walking
tours and travelling.

Boots or shoes for C3'cling should be made to fit the
shape of the foot, so as to be perfectly comfortable,
not according to the present absurd fashion, which,
instead of allowing that movement in the toes which
should take place in walking, cramps them together into
a mangled and deformed mass. The chief points to
be observed in getting boots or shoes are that the toes
should be broad, to allow fidl pla}^ to the toes of the
foot ; the heel, if any are worn, should be low and
broad, and under the natural heel, instead of being a
sort of peg pushed forward right in to the middle of
the foot, like the fashionable heels. The waist of the
boot, answering to the arch of the foot, should be to a
certain extent, elastic ; and the boot, though it should
not press in the slightest degree upon any part of the
foot, should not be too large, or it will chafe both
stocking and skin.

BATHING SUITS

Nav}' blue flannels or serges that do not hold much
waterare thefavorite materials for bathing suits. White
flannels and serges are also used, and there are com-
bination suits that have a skirt, vest, and revers-col-
lar of striped flannel, especially pretty in pale blue
and white stripes, or else dark blue and red, but dark
sea-blue flannel makes the quiet suit in which the bather
is least disagreeably conspicuous. Rows of mohair braid,
a fourth of an inch wide, are put on for trimming in

174 SPECIAL COSTUMES

white, pale blue, or red. Four or six rows are placed
around the collar, cap, belt, skirt, and drawers. Still
another pretty trimming for a blue suit is a border of
white flannel two inches wide, with a fence row pat-
tern stitched above this, and still higher up are blocks
of the flannel two inches square. Sometimes the
edges of the skirt and drawers are cut out in squares,
piped around, and made to fall over a pleating of
contrasting color, such as red or white imder blue.
The Breton vest and revers are much used with rows
of white or red braid in clusters across the vest, while
the revers are braided in lengthwise rows. Sometimes
the entire vest is of white or of red wool in a blue suit,
and the belt is of a color to match.

The favorite bathing suit consists of a long garment
with the waist and drawers in one, joined together by
a belt on which the skirt is buttoned. The neck is cut
high, with a sailor collar, but the preference is for short
sleeves that leave the arms free for swimming. There
is, however, the choice of several kinds of sleeves
given with most suits, viz., the mere cap in the arm-
hole, the short sleeve, the half-long, which reaches to
the elbow, and the long coat sleeve extending low on
the hand to protect it from the sun. The cap sleeves
are narrow at the top and lapped there, but are wider
underneath, and turned downward, so that no matter
how the arm is lifted the armpits are well covered.

The waist with a yoke and box-pleats extending to
a belt is one of the best designs, with ample fulness

SPECIAL COSTUMES 175

for concealing the figure. The 3'oke is cut \ftxy deep
and square across to the arm and may be confined
to the front of the garment, while the back has
three wide box-pleats from the neck to the belt, and
is covered at the top by the large square-cornered
sailor collar. The drawers are sewed to the lower
edge of the belt of the waist ; they are buttoned down
the front, and are made large and quite straight at the
knee, and plainly hemmed, instead of being gathered
to a band as they formerly were. The skirt is about
two yards wide, and falls just below the cap of the knee,
and the drawers extend two or three inches below the
skirt. There should be an inside belt lining to the
skirt (like that in children's kilt skirts) supplied with
button-holes for the buttons on the belt of the waist.
The outside of the belt does not show the buttons, and
may be made of a contrasting color of flannel, or else
trimmed with rows of braid ; and this is so prett}^, and
so effectually holds the skirt, that it is not necessar}^
to wear the canvas belt sometimes considered indis-
pensable.

Beside the suit described, bathers who are well-
dressed, wear long stockings, either black or matching
in color the suit. Striped or fancy hose are never in
the best taste. Ordinary bathers wear no shoes, but
for those whose feet are tender or who desire to be
shod, regular bathing shoes made of duck and similar
materials are always to be purchased in cities near the
sea. The oilskin cap, which is easil}^ procured, is the

176 SPECIAL COSTUMES

proper head covering for ladies who do not wish their
hair to get wet. Beside this, one requires some sort
of hat or cap that will shade the eyes and face. A
pretty straw flat tied under the chin but with no trim-
ming does this effectually and is not injured by the
water. Ladies sometimes show very prettj^ muslin
bonnets shirred on reeds for the front and with short
capes and full crowns that are very pretty. These
require to be rinsed out and ironed after each wearing
to be really presentable. A large full circular cloak
of cloth or flannel should also be provided to complete
a bathing outfit. This necessarily need not be exactly
like the bathing suit itself in color, although if they
correspond, it is in better taste. This is worn on the
beach when the bather is not really in the water and
aside from all questions of modesty is a desirable pro-
tection from undue exposure and chill.

Little girls wear bathing suits ver}'^ similar to those
of the ladies in material and make. Some machine
embroidery, or else rows of bright braid, trim them.
For boys and very small girls, are one-piece suits with
waist and trousers together, made of stockinet in nar
row stripes, or else of flannel.

DRESS FOR BUSINESS WOMEN

So large a number of women are engaged in daily
commercial pursuits, that the question of their dress
has become an important one. The practical tendency
is to-daj^ strong in all women and it is forcibl}- illus-
trated by the popularity of the tailor-made gown. The

SPECIAL COSTUMES 177

needs of women engaged in professional and commer-
cial pursuits have undoubtedly been prominent factors
in the successful introduction of this style of hand-
some, practical garments.

The tailor-made dress has really been a boon to
business women. Its neatness and its durability have
been the greatest possible good to them. A woman
who goes to a place of business every day needs to be
well dressed, yet she can not bother with furbelows.
She needs the assistance of looking well, yet her dress
must not monopolize too much of her precious time
and strength. Consequently, it is best for her to adopt
certain set features which will individualise her dress,
and it then becomes a very much less perplexing mat-
ter. There are a few general rules which must alwaj'S
be adhered to : in the first place, a business woman's
dress must not be easily soiled ; it must be well made ;
it must fit ; it must not be obtrusive in cut or color,
and it should be of ver)^ good quality. There are some
features of so called dress reforms that may with
advantage be adopted, but we can not advise women
who are busy earning their bread to make themselves
conspicuous. The first law for sucli a woman is to
be conventional, and assist in reform movements simply
as side issues.

First of all she should decide upon one color for the
prevailing tint of her whole costume. IMany do already
go to the extreme and always ^\ear black. This is not

178 SPECIAL COSTUMES

an objectionable thing to do in itself, although one can
be as truly economical and tasteful in browns, grays,
greens or blues, and at the same time not so somber.
The idea is, always wear different modifications and
harmonies of one color, and select only such accessories
as will combine and blend with it. Let us take brown
as an illustration. Let it be so arranged that the long
wrap — for a business woman can not do better than
wear a long wrap, summer and winter — the dress and
the hat are brown. Then never let her be tempted
into buying a color in gloves that will not look well
with brown. When it comes to underwear, brown hose,
brown flannel, cloth or silk petticoats and brown gai-
ters. Never let her forget, when making a purchase
or giving an order, that she is in brown, and she will
find herself equipped for any emergency. Then when
she comes to hurriedly dress she can proceed almost
haphazard, and will not in the end find she has arrayed
herself in all colors of the rainbow, because she has
not had time to make selections from a heterogeneous
lot of clothing.

There is another idea some ladies have adopted
with comfort and pleasure, and that is always to wear
the same st3de of dress, with little or no variation This
we can not recommend. It is too likely to grow tire-
some to both the wearer and her associates, although
one little woman looks well in a round skirt and waist
tied with a ribbon sash, and another, who-happily has a

SPECIAL COSTUMES 179

beautiful figure, has worn a princess style of gown ever
since the princess dress first came in.

There is one idea we should like to see exploded,
and that is that women who are out almost all day
should wear "good, heavy shoes." They should do
quite the reverse. Trim fitted, neat, light weight fine
boots are what every woman who works should wear.
To be in an office all day in a pair of thick soled shoes,
too stiff to allow the natural bending of the foot, is
too harrowing ; and when it comes to walking six or
eight hours in them, it is quite enough to exhaust the
strength of an Amazon. To keep up her spirits a
woman should be light and sprightly in her step, and
she can not be that in cork-soled boots. Let her get
a well made boot of fine kid with lighter soles, and
wear rubber "footholds" in damp weather, and she
will see how light hearted her light steps will make her.

A bonnet is scarcely adapted to a business woman's
wear ; a hat is far preferable. It protects the eyes and
complexion, and can be made handsome, though plain.
For wear in cold weather a bonnet can not be too cor-
dially condemned, for it is so slight a protection that
it is little more than the cause for the twin afflictions
of neuralgia and catarrh.

ARTISTIC AND REFORM DRESS

The earnest efforts of would-be dress reformers are
now directed after a method that begins to tickle the
fancy of women. Prett}^ women never took to Bloom-
ers or Dr. Mary Walkers, but when reform comes in

i8o SPECIAL COSTUMES

the shape of becoming, naj', even enhaacing garb, they
stop to consider it. No woman pines to have the
backache or to only breath within tightened limits,
but any of them will endure it rather than to be a fright.

There are some very dreadful things said about
women to-day, and perhaps most dreadful ones about
their petticoats and corsets. We often feel like chlo-
roforming some of the cranks who prate in regard to
how women dress.

Take away her corsets and she has to substitute
some awkward stiff waist, which is simply murderous.
Take away her petticoats and what has she left to wear
but trousers? She is likely to get a right to the ballot-
box before she is given the right to appear in them.

However, all this agitation will probably end in the
adoption of some modern dress reform, and the giving
up of Parisian modistes' concoctions.

It is in the new tea-gowns or house dresses that we see
the influence or fore-shadowings of these newer reform
robes. Even there we do not find decided indices,
only premonitory symptoms, most evident only in con-
trast. The gown controlled by the old established
rules is long-waisted and tight, and witli beautiful long
lines decorated in braid and cord. The reform points
appear in loose, languid folds over the chest and limbs,
hiding, while suggesting, the unconfined waist-line.
The limbs are treated after the same methods, no tapes
or tie-backs being allowed. Soft, clinging materials like
cotton, wool or silk crape in delicious mauve, terra-

SPECIAL COSTUMES i8i

cotta or marine hues delight in a reposeful manner the
observer's e5'e.

"We cannot dress artistically," on every hand, plump
women are heard deploring. There never was a more
mistaken conclusion. While studying the beautiful in
dress one soon learns that lean estheticism is not all
the art. You have but to glance at the women and
their costumes that Rubens and Titian loved to paint
to be convinced there may be refined grace in ample
proportions. A woman above the average weight and
below the medium height need never aspire to appear
a sylph, but her attire may strike the educated eye
pleasantly, if she adopts tunics showing longitudinal
effects, uses dim esthetic colors, and preserves pleasing
outlines. But there is one assured fact, she will never
please artistically if she squeezes the flesh about her
waist into heaving billows around her hips and should-
ers and pushes her arms into sleeves that remind you
of stuffed sausages.

London struck the new note in the esthetic move-
ment of some years ago. It was pilloried by ridicule
at the time, and in some sense it deserved it. So
grotesque and exaggerated were many of its phases,
that whatever in women's clothing was loose, untid}',
ill-fitting, and of no particular color, was claimed as
"esthetic" and laughed at as the result of diseased or
erratic imagination. The power of the small school
of worshippers was at its height several j-ears ago, but
was then confined to a very small school. After awhile

1 82 SPECIAL COSTUMES

it ceased to attract attention, and the Philistines, who
are nothing if not orthodox and conventional, believe
that it has been sneered and ridiculed out of existence.

But an idea can not die ; it is bound to live and
flourish if it has a spark of vitality in it, and the
esthetic idea flourished to such an extent that it has
created a revolution, and now dominates every other
fashion in women's clothes, except one, and with that,
the "tailor-made" idea, it divides the honors. Both
these predominant lines, or veins, were struck by
English enterprise and originality. Nothing essen-
tially new has come from the French since Worth
invented draperied dresses, and he, it must be remem-
bered, is an Englishman.

The difficulty has been the lack of ideas. Fashion
must have ideas to work upon to produce novelty,
and others not being forthcoming, was obliged to adopt
the tailor-made idea and the esthetic idea, and b3'experi-
menting upon them, adapting them and applying them,
produced wonderful results.

By the new system of esthetic reform, four garments
are to be worn, instead of fourteen under the old system.
The four articles of apparel are the tights, the vests, the
combination garment and the dress. It means fewer gar-
ments. It means garments that do not destroy the out-
line of the body, but are made in accordance with
them. It means garments that will allow free use of
the muscles of the body. It means a minimum weight
of clothing necessary for warmth. It means dresses

SPECIAL COSTUMES 183

suited to varying conditions and occasions, as climb-
ing, traveling, walking, promenading, fishing, etc. The
beauty and advantage claimed for the new system are
that tlie four garments can be purchased in dry goods
stores, and can be easily washed. There is no band
about the bodv, and constriction from corsets or col-
lars is out of the question. The weight is distributed
evenly, and there is perfect freedom of movement in
every part of the body.

The tights to be worn with the reform dress cost
about ten dollars each, and should last two years.
They are not like silk hose, which ravel when a thread
breaks. In winter a lisle thread sock is to be worn
inside. The second garment is a little black silk or
lisle thread vest. The combination garment resem-
bles the ordinary drawers and vest sewed together.
The dress is not so great a departure from the con-
ventional ordinary dress. The problem is not so much
in the evening dress, as in the home dresses and street
dresses that will not be too great a departure from the
conventional. Roughly described, the dress is made
up something like the Mother Hubbard. The weight
is on the shoulders and not on the hips. In winter
equestrian tights of wool are to be worn like the old-
fashioned leggings, only that they extend to the waist.
With thin dresses in summer is to be worn a simple
white or black slip, which consists of a waist and
five breadths of silk. Some may wear ecru equestrian
tights, to which black stockings may be attached.

1 84 SPECIAL COSTUMES

"Two things are helping this movement greatly —
the study of art and the study of science," says an
ardent advocate. "Women are beginning to understand
and apply more broadly the principles underlying all
art. The second cause is the greater demand that is
being made to-day upon woman's strength and the
public character, so to speak, of her work. She is
coming into direct competition with men, and she finds
that, in order to keep up with her stronger brother,
she can not hamper herself unduly. Our first and
strongest point is the appeal to the esthetic and the
endeavor to educate women as to what ought to be.
We next call their attention to the manufacture of
undergarments, working for two points. First, that
garments should be manufactured so that we could
buy them as a man buys his garments and not be
troubled by having them individually made at home.
And then we endeavor to have garments that will
more nearly follow the outlines of the human figure.
Our third endeavor was in the line of better ph3^sical
development. We have not ignored the hygienic, the
health side. The fashions of the past have been fully
discussed and special ugliness pointed out. That
which was good in fashions of the past has been dwelt
upon, and it has been shown how such could be con-
sistently applied to the dress of to-day. The most
important and perhaps the most difficult task to accom-
plish has been the education of the dressmakers."

SPECIAL COSTUMES 185

TO DRESS FOR THE PHOTOGRAPHER

First decide upon the style of photograph you will
have, bust, three-quarters or a full length. The larger
the size the more elaborate the toilette must be. A
full length picture requires a fresh, perfect gown.
Wear and hard usage show very plainly in a photo-
graph. The gown need not be of expensive or handsome
material but it must be comparatively new and unworn
to get a satisfactory photograph.

So far as color is concerned it is rather unimportant.
Black, dark green, crimson, brown and yellow take
nearly the same shade and white and light shades of
color reproduce in a similar manner.

The photographer will probably request you not to
dress the neck too high or too tight, or in an exact
circle, with the fore part of it lying close under the
chin, for, of all things, the high mode of dressing
the neck is distressing to an artistic photographer.
It is done because the lady has a short neck or a long
one, or it is thin and the cords must be concealed. It
is done, for it is the fashion. This is all a mistake.
You are surprised when the photographer says it, for
there is a touch of bitterness in his tone. He illus-
trates his meaning by winding the lapels of his coat
tightly around his neck. "You see, madam, the effect
on a long face like my own. It overhangs and becomes
almost deformed, while a round face becomes button-
shaped, and none of the little tricks of hair-dressing
or expression can remedy it. No; it's all a mistake.

1 86 SPECIAL COSTUMES

If your neck is short, as you say, do not lose what
you have, lower the drapery, do a little judicious bor-
rowing, and, presto ! the face that was round becomes
oval. In any case the neck must not be hidden, for
all the action and grace of position in a bust portrait
centers there." A dress cut low in the neck always
seems much higher in a photograph than to an observer.
A masculine face is softened and refined by a soft
neck dressing, a bit of lace being preferable to the
stiff standing collar.

It is always best to secure in advance a time for your
sitting, when making the appointment consult the
photographer as to your dress. Let him know what it
is to be. You may be undecided which of several to
use. It then may be a choice in color or in cut, etc.
He will tell you at once which is best. He may
request you to try more than one, and in the absence
of such invitation, you will be expected to pay extra
for the experiment. While you are talking with him
about dress, he is studying your face, expression, and
form generally. If he also be an artist and experi-
enced, he may see at a glance that your customary
way of dressing the hair is not becoming, for, strange
as it may seem, comparatively few women have the
,knack of arranging their hair in the mode demanded
by their face. While he knows that the portrait must
not be ruined by the hair being done up in an unfa-
miliar way, he may yet give you a few invaluable sug-
gestions. For instance, he may request you to be

SPECIAL COSTUMES 187

more careful in dressing the left side than the right,
thus signifying that the left side of the face is the bet-
ter. Few have both sides alike. There is often almost
as much difference as between two persons. The nose
is much or a little to one side ; one eye is smaller,
because one lid droops more ; there is a depression
over that spot where a tooth has been extracted. The
uneven shaping of the lips alone may decide which
side of the face should be prominent. You laugh
rather to one side — and by-the-bye there is always
something pretty about such a laugh — and you have
developed a dimple, which, sad experience teaches
the photographer, will be demanded of him. But, as
it happens sometimes, he may fail to detect the slight-
est difference between the right and left, but he still
requests you to take special pains with a certain side
of the hair, as he prefers to show that side of the face.

This is because in every atelier the light is better at
one end of the room than at the other, and he is accus-
tomed to place his sitters there. Now, and not when
you come to sit, is the time for you to tell him what
you prefer. You wish a three-quarter face, or a front
view, or a profile ; j^ou have studied the idiosyncrasies
of your face for years, and have so decided. He lis-
tens respectfully, but his eye has searched out all the
little secrets of anatomy, and fathomed your hidden
reasons for thus and so.

In keeping your appointment be punctual. A few
minutes too soon is better than one minute too late.

1 88 SPECIAL COSTUMES

The toilette-room is yours, strictly, until you return from
your sittings, and you are justified in locking the door
and retaining the key. Take your own powder with
you, but do not use it, unless you have studied "mak-
ing-up" for the stage. A good theatrical "make-up"
will photograph well ; rouge and a trifle of darkening
around the eyes, especially the eyebrows, aid in bring-
ing out the features, and do not show. Under ordinary
circumstances, however, the photographer will use
your powder much better than you can. If he uses
it at all, it will be upon the hair alone, which generally
takes several shades darker than it is, particularly with
yellowish or auburn casts.

Remember that a bright sunlight is the worst light
you can have for a photograph. Choose, if possible,
a day with an overcast sky ; a snowy day is excellent.
The early part of the day is to be preferred, say between
the hours of lo and 12 a. m., as then the light is more
actinic, and the photographer has not been wearied.

CHAPTER XV

DRESS FOR HOME AND FOREIGN TRAVEL

DRESS FOR HOME TRAVEL — DRESS FOR SOUTHERN TRAVEL —
DRESS FOR THE FAR EAST — DRESS FOR OCEAN TRAVEL

DRESS FOR HOME TRAVEL

A traveling costume for wear in the north, east or
west of the United States, has long since ceased to
differ from one's shopping gown. The fashionable
woolen dresses seen on our streets are admirably
adapted to ordinary traveling.

The most important matter in regard to a traveling-
gown and which is often overlooked — is a comfortable fit.
The bodice should be especially easy fitting. The arms-
eye and the sleeve should be sufficiently large and roomy
not to bind the arms. The linings of both bodice and
skirt should be of the lightest weight, and consequently
silk linings are especially desirable for traveling
dresses.

The color of such a costume should be governed by
what is becoming to the wearer's complexion, although

I go DRESS FOR HOME

dark shades of gray and blue have been found to stand
the dust and moisture better than other colors.

Brown we are told, is a most serviceable color but
experience declares it grows faded on the tops of pleats
and spots with a good deal of alacrity even in the
finest and most expensive fabrics.

Black, except in silk does not make a good travel-
ing dress ; it grows dusty and rusty and is a most try-
ing costume to a tired woman, unless her skin is of
the freshest.

Women with chestnut hair and fair complexions can
always wear the pretty shades of blue. This color is
very serviceable. In darker shades shot with lighter
color or striped with hair lines in clusters, it is an excel-
lent choice.

Sand grey is another color which wears admirably
and is usually becoming. With bag, strap and belt
of russet leather it is an elegance.

DRESS FOR SOUTHERN TRAVEL

Unless one goes out prepared for certain peculiarities
of the Southern climate and customs, she is sure to
come to grief. There prevails in the North a poetical
notion of the South as the land of sunshine and flowers.
This is true in summer, and in winter the South has
very warm days but it has intervals of cold. These
cold days are so damp and so pervasive in their
dampness, they are harder to bear than the cold days
of the North that are so brisk and sharp.

There is no Southern climate which is continuously

A ND FOREIGN TRAVEL 191

and evenly warm during December and January. Taken
as a whole, the South during those two months and
the first half of February is rainy, chilly, foggy— any-
thing and everything but "sunny." Georgia, the Car-
olinas, and the rest of the middle Southern States have
nights almost every winter when the mercury drops
below thirty-two degrees. The spring months from
March to the middle of May are ideally pleasant ; but
the Northerner going South should be prepared for
cold, carrying plenty of warm clothing. It is well also
to have a few rugs in a party, for Southern hotel-keep-
ers are very frugal with their blankets and but few
Southern houses are provided with chimneys, so that
one could have a fire in her room. Consequently, the
traveler South wants to be supplied with extra flannels
and with light weight woolen dresses and fur wraps.
Cashmeres and light weight cloth, in light colors and
white make the most tasteful and comfortable dresses,
and soft India and other silks are among other fabrics,
tourists in that part of the country have found most
useful and popular.

One has always to consider that stout, loose shoes
are most needed in Southern travel. The land of the
orange is the land of sand. Where it is not sandy it
is muddy.

DRESS FOR THE FAR EAST

We are indebted to one who has been long resident
in China and Japan for an extended account of dress
required for the far Eastern countries. "Few," she

192 DRESS FOR HOME

says, "unless they have spent some time in China and
Japan, realize the difficulties attendant on the selection
in America and Europe of a suitable wardrobe for the
peculiar cliniates of those countries. The difficulty
is much enhanced by the variety of climate each of the
foreign settlements offer, but a few general hints may
prove useful. Generally new-comers among the ladies
are brides, who bring from home such a trousseau as
they would require at home, only to learn by sad
experience that many of their prettiest things are use-
less.

In Shang-Ha'i the winters are cold, also in Yoko-
ama and Kobe, where one woidd find furs agreeable.
Indeed, the winters may be fairly compared with those
of Baltimore and Washington in temperature. In
Canton, Hong-Kong, and the south of China heavy
autumn clothing only will be necessary — hardly that —
more feeling of cold coming from the great dampness
of the country than from the temperature. In Japan
furs are always agreeable in the winter, although snow
and ice are exceptions.

The spring and autumn need not be considered, as,
like the dawn and twilight, Nature has omitted them
from her time-table.

For summer a number of washable lawns, muslins,
nainsooks, or batistes and ginghams, simply made and
without linings, are the best. Any dress that can not
be done up by the home laundress must be omitted,
unless the lady is willing to do it herself; and for the

AND FOREIGN TRA VEL 193

same reason fine laces should be avoided, embroidery
being the most serviceable trimming.

Again one needs a much larger suppl}'' than at home,
as the intense heat renders frequent changes of dress
necessary. These washable white dresses are usually
worn in the smaller settlements at all dinners and
evening entertainments in the hottest weather ; in the
larger settlements all entertaining is abandoned because
of the difficulty of dressing elegantly and comfortabl}'.
One needs several light white, pink, or pale blue nun's
veilings or cashmeres for cool weather tennis and call-
ing, or afternoon teas ; some ladies wear nothing else.
For evening or ball dresses one or two lace, gauze,
or grenadine, and one heavy silk or velvet for winter,
are all that are needed. Dinner dresses should form
the pieces de resistance of the wardrobe, as dinner-giving
is by far the most general way of entertaining ; other
entertainments, with the exception' of tennis parties,
are few and far between.

Most ladies find it advisable, especially the elder
ones, to make the dinner and ball dresses mutually
convertible. In the large ports, such as Hong-Kong,
Shang-HaT, and Yokohama, there is a large and gay
society, and there one needs as elaborate a wardrobe
as her means will allow, but in the smaller ports an
extensive wardrobe is mere folly ; and most ladies
confine themselves to two or three simple evening or
dinner dresses, and wear them continually until worn
out ; for in a small place one meets the same people

194 DRESS FOR HOME

morning, noon, and night, and so, as in a family, little
regard is paid to the number and variety of dresses.

As there are few or no concerts, theatres, etc., and
when they occur the}' are attended in full dinner dress
without bonnet, the number of street dresses should be
limited, one or two for the season being an ample
supply.

It should be remembered in making selections that
such conveniences as the professional cleaner and dyer
or the fine French laundress are not to be had, and
that the freights to and from America and Europe are
too high to admit of sending anything but gloves home
to be done over.

In hats for winter wear one's choice is unhampered,
and only governed by the suitability to the wearer,
but the choice for summer is not so free, owing to the
great heat and glare, so that all who can should wear
as much as possible large brimmed or sailor hats.
Curled plumes should be avoided, as the hot is always
the damp season, and the plumes soon lose their crinkle.

A large supply of pretty fancy ribbons for dress
loopings, and sashes for wash dresses, hats, etc., is very
useful and necessary.

Gloves are one of the bugbears of the far East, the
climates as a rule being so damp that if the kid does
not stiffen and crack, it is apt to mould. Great care,
however, will avoid both misfortunes. The writer
having kept gloves successfully for two years in the
following way, can confidently recommend these pre-

A ND J' ORE J GN TRA / '£1 1 95

cautions : Wrap the gloves in tissue-paper, with a layer
of paper separating each glove from its mate or neigh-
bor, after sunning them well. Then put them in a tin
case the cover of which fits over the box about three
inches, and so closes it air-tight, having previously
baked the box and lid in a hot oven to destroy all
insects or fungus germs the}' may have contained, and
allowed them to cool open. Close the gloves in this
way, and repeat the operation once in six months,
and gloves will keep.

One needs a selection of street and evening Suede
kid gloves, some dog-skin walking gloves, for mountain
or country wear — chamois-skin gloves are equally good
— and a good supply of silk gloves for summer wear
in street and evening. After wearing, it is better to
keep gloves in a light basket, unrolled, as they are apt
to mould in a close box or drawer.

Shoes are among the weightiest problems of life in
the East, and the number of Chinese who can make a
'welly good shoe' is astonishing in the light of the
universal complaint. A good supply of strong walking
boots, house and dancing shoes, and slippers, can not
be too strongly urged, as well as the precaution of
leaving one's measure with a competent shoemaker at
home. The measure left at home should be made for
loose shoes, as all, without exception, find that the
feet swell so during the nine warm months of the year as
to make a formerly good-fitting shoe extremely uncom-
fortable. Strange to say, the swelling is more notice-

196 DRESS FOR HOME

able the second summer than in the first. All unworn
shoes must be kept in the tin-lined chest hereafter
described.

Anything pretty in stockings and handkerchiefs
forms an untold addition to one's comfort, as only the
simplest of those articles can be bought in these coun-
tries at anything but extravagant prices, if they can
be had at all.

Fans, parasols, and umbrellas should be chosen as
unlike as possible to the Japanese styles, as the old
adage regarding the "honor of a prophet in his own
country" was never more forcibly illustrated than in
this matter.

One should strictl}^ avoid all pseudo-Chinese or Jap-
anese styles in selecting the wardrobes, for the important
reason that living in a country with as marked schools
of decorative art as the Chinese and Japanese, one is
inevitably and unconsciously strongly influenced b}' the
all-pervading stvle, and so anything which differs from
it forms a pleasing and refreshing break in the monot-
ony. Again, if one must have Chinese and Japanese
styles, it is better to wait until the articles can be
chosen in the best markets, where varieties and beau-
ties undreamed of in America and Europe can be had
at half price.

Owing to the intense heat, a dozen, at least, of
everything in underwear is advisable. Muslin or linen
for the drawers, chemises, and petticoats ; heavy merino

AND FOREIGN TRA VEL 197

vests and drawers for winter, and the thinnest wool
gauze vests for summer, are required.

For summer under-skirts, nun's veiling is the best
material. In all under-clothes fine lace or puffing is
troublesome to have done up. Although washing is
cheap, it is hard to get fine work done.

One thing is urgentl}?' recommended ; that each lady
bring witli her a well-fitted waist-lining. It is easy
to find native tailors everywhere who will, like the
Chinaman who copied the sailors' breeches even to the
patch in the seat, copy a dress exactlv, and 3^et are
utterly unable to fit a person without a pattern.

Rubber goods should be chosen with care, as some-
thing in the atmosphere rots and cracks all rubber in
a very short time.

Every lady must expect to provide herself soon after
her arrival with a tin or zinc lined camphor-wood
chest, long enough to hold her best dresses unfolded.
Such boxes can be made by native carpenters for from
seven to twelve dollars (silver).

From the wardrobe to the toilette is but a step, and
the recommendation for a good supply of face pow-
ders, soaps, cologne, and perfumes, especially if one
is accustomed to use onl}^ special kinds — may be par-
doned, as well as the following.

Stationary, much and varied, is a necessity ; everj^thing
is done by notes, or, as they are called, "chits; hence
an unlimited number of notes, invitations, regrets,
acceptances, inquiries, thanks, etc., are always being

ig8 DRESS FOR HOME

exchanged ; even the orders to trades-people necessitate
those ; so that a varied assortment of papers and cards
is a comfort. Most notes are sent by private messen-
ger in a chit, or receipt-book, which is returned.

Custom-house duties being merely nominal, it is
easy to import all that one wishes from England,
France, Germany, and the United States by the
steamer lines running to those countries. All the mate-
rials for drawing, painting in oil or water colors or on
china, embroidery or fancy-work, and music of any
kind, must be imported."

DRESS FOR OCEAN TRAVEL

Woolen dresses made in the prevailing fashion and
with as little ornamentation as possible are the cor-
rect gowns for ocean travel. If cloth is used for the
dress it should be more than carefully sponged before
making up, so that dampness can not affect it. Flan-
nel treated in the same manner is also an excellent fab-
ric for these dresses, Tweed, cheviot and suiting cloth,
in not too heavy quality, make the finest and most
dressy ones, however.

The best dressed ocean traveller will provide herself
with a wrap of the same material as the dress. This
may be a long close fitting coat or it may be only a
jacket just as the wearer considers most becoming and
most fashionable.

Other heavy wraps and rugs will also be required
for the V03'age, if the voyager is not confined all the
trip to her state-room. But for pleasant bright days

AND FOREIGN TRA VEL 199

the jacket or coat, as tbe case may be, will be all that
is required for the daily promenade on deck.

A soft felt hat or Tarn o' Shanter cap makes the
proper headcovering. This can be thrown aside at
will, or drawn over the eyes, to one side or the other
of the head as the sun or wind demands.

An ocean steamer is not a good place to indulge in
worn boots. Neat, snug fitting ones are quite neces-
sary, as the feet are as much an index to your charac-
ter as the tidiness of your hands, and the deck of an
ocean steamer is a great revealer of them. Woolen
underwear and black silk petticoats afford the most
protection during the voyage and do not soil easily.

There is no need for many changes of dress while
on board ship. One other dress may be added to the
regular traveling gown to be carried in the little
steamer trunk, but it will probably never see daylight,
as ladies are not expected to make dinner or evening
toilets. It need only be carried for use in case of seri-
ous accident to the first gown.

A pretty dark woolen wrapper or tea gown will be
required for use in your state-room only, and be sure
to have a large number of fresh handkerchiefs and
your full supply of toilet appointments.

When traveling in England or on the continent very
little variation is made in dress. It is the same one
requires in America. However, the matter of luggage
is a much more important matter. The charges on
extra baggage are enormous compared to those in
America, and the traveller should be governed thereby.

CHAPTER XVI
MOURNING

MOURNING FOR WIDOWS — MOURNING FOR A PARENT, CHILD

OR SISTER children's AND SCHOOL-GIRLS' MOURNING

COMPLIMENTARY MOURNING SECOND MOURNING FOR

THE NECK

MOURNING FOR WIDOWS

The mourning worn by middle aged widows is the
deepest worn by any woman. Fashion dictates mate-
rials from season to season, but lustreless cloth heavily
trimmed with crape is the orthodox fabric used. In
families where crape is considered unwholesome
woolen stuffs without lustre, such as serges and camels-
hair cloths, are used. They are not so costly as crape
either. For winter these serges and cloths are deep
mourning, while for warmer seasons, tamise cloth, nun's
veiling and iron-frame grenadine are proper fabrics.

Widows wear this deep mourning for one year, two
years, and often for life according to circumstances and
their own feelings on the subject.

The severe designs denominated tailor-made are
especially suitable for mourning costumes. The plain

MOURNING 201

round skirt and pointed basque, made to fit perfectly,
is the design always in style. Around the bottom of
the skirt deep folds of crape are added. For widows
this fold or band is sometimes as wide as half the
depth of the skirt. Folds of crape are introduced on
the bodice and sleeves more or less profusely according
to the taste and age of the wearer.

The more elegant of mourning dresses arc made
over silk foundation skirts and with silk bodice lin-
ings.

Wraps to be worn with first mourning dresses are
made of the same material as the dress. Jackets, long
cloaks or short mantles are alike in good taste for such
garments. For winter they must be warmly wadded
and lined. Any trimming except crape is not in good
taste. Fur or embroidery of silk or passementerie
should never be used. In the coldest climates of the
United States fur garments are absolutely required but
fur-lined cloaks are to be preferred to sealskins in such
instances.

The widow's bonnet varies in shape as do other
.'ashions l)ut its characteristics should always include
small size and the utmost simplicit}' in make and
ornamentation. The widow's veil is long enough in
front to come to within eight or nine inches of the
bottom of the dress skirt and to hang half this length
behind. The hem sliould be fifteen to eighteen inches
deep. The most costly and handsome veils are of
crape, but they are not the most durable. Nun's veil-

202 MOURNING

ing is liked and much used. It is much lighter and
is not so easily affected by dampness and dust.

MOURNING FOR A PARENT, CHILD OR SISTER

For mourning for a parent, child, brother or sister
the same materials are employed for the first mourning
as widows use. It differs from the widow's dress in
that it may follow prevailing st3des in cut and trim-
ming. Crape is used as velvet, ribbon or passemen-
terie is on colored costumes. The mourning bonnets
should not be so severe in shape and the veil worn
will be much shorter than for the widow's mourning. In
these cases the veil extends only to the knees in front
and to the waist at the back.

This mourning for a parent, brother, or sister is
worn for one year when it is lightened by black silk
without crape. When it is a mother mourning for a
child it should only be worn nine months, and during
only three months of the nine should the crape, less
deep than for a widow, be worn. Then for the six
months following black dresses only should be worn.

children's AND SCHOOLGIRLS' MOURNING

School -girls in their teens have seldom more than
the first dress trimmed with crape and afterward wear
flannel, serge or cloth trimmed with braid. It is always
most deplorable when childhood must put on mourning
and it should at all times be made as light and of as short
duration as possible. Their dresses are simpl}' made
of serges and homespuns, without the fragile crape

MOURNING 203

trimmings that are so soon defaced and are always
unsuitable for children. Their black hats of felt or
straw are always trimmed with black feathers or jaunty
ribbon knots in as coquettish a manner as their little
friends wear in colors. Custom demands their cloaks
or jackets should be black and with very little orna-
mentation.

COMPLIMENTARY MOURNING

The mourning worn for distant relatives or for con-
nections by marriage, complimentary mourning, is
merely all black garments \\orn ordinarily by those
who are not in mourning at all. For dresses of this
kind, cashmere trimmed with braid or silk, grenadines
and lace or silks trimmed with jet ornamentation, are
used. The younger women vary this mourning by
wearing pure white dresses for pretentious occasions.
Rich lustreless silks are those perferred by elderly
women for the same purpose and trained skirts add much
to the dignity of such toilettes.

The same rules hold good in regard to the hats and
bonnets worn during this period. Felt and straw-
shapes with lace, feathers and other fashionable acces-
sories are permissible, although black must always be
their hue. Crape is not used in such instances unless
it is otherwise fashionable.

SECOND MOURNING

Strictly speaking, second mourning consists of the
same mourning assumed for complimentary, but the

204

MOURNING

dead black Is soon relieved by the adoption of gray,
purple, lilac and heliotrope. These colors are more
generally preferred to combinations of black and white
which are also in accordance with the strict rules of
second or half mourning.

For very elegant second mourning toilettes, jet and
embroidery are sometimes introduced but lace is never
considered mourning in any sense of the word. Even
in light second mourning when lace is used over white,
it is not in the truest idea mourning. Gold ornaments
should never be worn with any kind of mourning.

While we can not sympathize with those who demand
black underwear as necessary to complete deep mourn-
ing, still it is in the best taste to discard white petti-
coats, substituting black silk or worsted ones.

FOR THE NECK

White is often worn at the neck and wrists in the
deepest mourning, as it is considered by some very
unwholesome for black crape to come in contact with
the skin, on account of its dye, and because of the
small flakes that escape from it. Widows wear a
Byron collar and deep outside cuffs of white organdy
with a hem an inch deep ; these, with a small white
tarletan cap in Fanchon shape, are used by widows
only. • Two or three bias folds of white canvas or of
crepe lisse are worn by those in mourning for par-
ents, brothers, sisters, or children. There are also leaf
scollops of lisse in two or tliree rows, and plain piqud
folds. Those who insist upon black for the neck, how-

AWURNING 205

ever, use bias folds of canvas grenadine or of silk mus-
lin in preference to crape.

Common-sense and decency should characterize the
gradual discarding of mourning. Crepe lisse at the
neck and wrists leads the way to second mourning. A
lighter veil succeeds the heavy crape one, before the
veil is absolutely discarded. And in such gradual
transition the changes should be effected.

CHAPTER XVII
BRIDAL OUTFITS

SEASONABLE GOWNS — THE VEIL BRIDESMAIDS' DRESSES

FOR QUIET WEDDINGS — THE BEST DATE — BRIDES' TRAVEL-
ING DRESSES THE GENERAL TROUSSEAU

SEASONABLE GOWNS

The morals of fashion in weddings should always be
governed by good taste. There should never be any-
thing done or worn at a marriage ceremony which can
in any way make the ceremony light or ridiculous.

The dress and attendants of the bride should be in
keeping with the season and her position in society.

At a June wedding the dress of the bride should be
of the thinnest and lightest material. If she has a
great deal of real lace, let it be put over the thinnest
white crape or gauze, and her veil should be pinned
on so that it will not be too heavy on the head.

As for the bridesmaids, they can not have prettier
dresses than white lace ; the white dotted or imitation
laces which can be washed make very pretty and not
too expensive dresses.

BRIDAL OUTFITS 207

But the fashion for June weddings, especially in the
country, is always somewhat eccentric, and permits
dresses of percale, brilliantine, muslin, and other sum-
mer materials. Round hats crowned with flowers and
little bonnets are also in order. Nothing can be pret-
tier than a bridal group arranged by an artist so that
every bridesmaid makes a picture by herself. The old
fashion of hiding a silver coin, a thimble, and a ring in
the cake has been revived. The one who gets the ring
will be first married; the one who gets the thimble
is assured of single blessedness; the fortunate possesor
of the coin will have great wealth.

At a December wedding the bridesmaid carries a
large bunch of holly with glossy leaves and red berries,
the flowers then in season, just as the eldest sister of
this bride might choose Easter lilies for her maidens, in
Easter week. For the midwinter wedding the ten ushers
might wear white hyacinths for bcutonnieres, white
satin scarfs, and pearl scarf-pins; their pearhcolored
gloves have wide stitching in pearl-color, and are pre-
cisely like tnose worn by the groom. The bride carries
a prayer-book with soft white leather cover and a "posy"
of long-stemmed Parma violets. Her gown being of
white silk muslin over satin, the tulle veil may have a
wide lace border.

Satin, soft repped silk and lace are used for the
most luxurious wedding dresses. At no other time in
her life docs a woman want to be better dressed than
on her wedding day and if she has wealth and social

2o8 BRIDAL OUTFITS

position, it is perfectly proper to wear as elegant and
beautiful a gown as money can provide. Yet an extrava-
gant display, where it cannot be afforded, is one of the
most unseemly spectacles in social life.

However, costliness in dress does not alone make a
beautiful bride, there are many simple, yet most beau-
tiful fabrics that may be used for her robe. Mull and
crape are both available. Tulle dresses are often sug-
gested for the same purpose ; but if well made the}' are
costly and more easily spoiled than either mull or
crape.

Where there is a lace flounce in the family, it belongs
to the bride, as a matter of course, but for young women,
its omission is never noted.

THE VEIL

Tulle veils are preferred for very young brides. Lace
veils are seldom becoming, but, like the lace flounce,
if there is one in the family, the bride generally wears
it. The tulle for veils is three yards and one-half wide
and should be long enough to reach to the end of the
train. Its edges are evenly cut and not hemmed. If
the train of the bridal dress is cut rounded, that end of
the veil is curved to follow the outlines of the train.
A small piece of the veil is generally worn over the
face until the ceremony iscompleted when, the maid of
honor assists in raising it. The fulness of the veil is
massed in a small space just over the bride's coiffure.
It is fastened by either jeweled or simple long pins.

In Germany the tulle veil after the ceremony is

BRIDAL OUTFITS ■ 209

divided up and carried away b}^ the unmarried guests
to dream on, as we do on wedding cake in America.
bridesmaids' dresses

A bride alwa3^s suggests the dresses for her brides-
maids, and the greatest latitude is allowed in their
style and material.

It may be she will decide to be accompanied b}' two
small girls, who walk just before her to the altar. They
should be dressed in quaint and picturesque fashion
and be supplied with fresh, delicate flowers. Or she
may have instead, two little boys, dressed as pages,
either to walk immediately behind as train-bearers, or
to precede her, as if to make way for the bride.

But the stately grown-up bridesmaids are of more
importance. The finely dotted net called point d'sprit
is a beautiful material for their dresess, at least for
the skirts, while the waists may be made in silk, satin or
some other heavier fabric. This net is very inexpen-
sive and is very effective trimmed with either lace,
ribbon or flowers.

China silk and the China crapes which always drape so
beautifully are delightful gowns for bridesmaids. Where
there are six, eight or ten maids it is an effective fash-
ion to have them assume in couples, different colors.
For instance two maids ma}'' wear pink, two yellow,
two blue and two violet. They should carry flowers of
their respective hues.

Large hats or picturesque bonnets are sometimes

worn by the bridesmaids with beautiful effect, and again
14

2IO BRIDAL OUTFITS

when the bridesmaids prefer demi-trained dresses, short
veils of tulle are worn reaching half way down the
skirt. They are usually fastened on with pins and no
flowers are worn on the hair.

Fashions of the day must dictate regarding the gloves
and shoes worn both by the bride an'd her maids. Still
slippers made of the material of the dress worn and
undressed white kid gloves will alwa)'s be unobtrusive
and elegant in their effect. Slippers made of the dress
material are not expensive and any city shoe shop will
get them up for less than five dollars.

FOR QUIET WEDDINGS

For brides, whose tastes are more subdued, when
no maids are to be in attendance, the question of dress
is of much simpler solution. She may wear her trav-
elling dress, or a simple light house dress and be pro-
nounced a most beautiful bride.

Widows who are again marrying, also seek something
not ostentatious. There is no law against young wid-
ows being accompanied by maids but society is gov-
erned by unwritten edicts often and this is one of
them.

Brides who are in mourning, should cetainly throw
aside black for the marriage at least, even when they
resume it soon afterward.

Young ladies who marry widowers, sometimes con-
sider it etiquette to be married in a bonnet and high
dress. If they are not very young, this is perhaps
better.

BRIDAL OUTFITS 211

THE BEST DATE

Amongst the Romans, June was considered the most
propitious month for a wedding. Whether the mar-
riage of Juno to Jove gave them any great reason to
think so or not we cannot ascertain. But they were
true to the Queen of Heaven, and paid her all the
honors.

Nothing can be more lovel}' than a June wedding in
England on a great estate, where the church is near the
house. First come the singing boys out of the church
chanting an epithalamium. They walk before the rec-
tor and his assistants, all robed in white, to the door
through which the bride is to pass. Then out of the
house come the child bridesmaids, scattering flowers ;
then the stately grown-up bridesmaids ; then the bride
on her father's arm ; then the boys strike up a new
song, and precede the whole party to the church. After
the ceremony the bride comes out first, and the girls
of the Sunday-school, all dressed in white, precede her
with songs, to her door scattering flowers ; the rest of
the party follow. And then the reception is held in
her mother's favorite room, generally where the old
family portraits are hung.

brides' TRAVELING DRESSES

It is not at all necessary a bride's travelling dress
should be fine and rich ; a splendid dress would be
really unsuitable. It should be only fresh and well
fitting and the simpler always the better.

212 BRIDAL OUTFITS

That famous or infamous young woman who declared
she found nothing in all the consolations of religion
equal to the comforting consciousness of being well
dressed, might insist upon a splendid toilette, but her
followers are rare. Traveling dresses for brides in
England are also often very elegant. Velvets, satins
and embroidered light woolens are often used. But
their railway trains are less dusty than ours and more
secluded and then there, the groom generally drives
the bride in his own carriage to some neighboring
country-seat, where they spend the honeymoon. A
fine carriage, with four horses, all decked with white
favors is a pretty sight and the bride dressed in light col-
ors in it with the happy groom makes it still prettier.

However, in America, our railway coaches have
become so perfected with regard to ventilation, one
may wear a toilette suitable for the drawing-room.
Indeed, the days of taking a worn out dress in which
to travel are past and one's station in life may be deter-
mined quite nearl}^ by the clothes you wear when trav-
eling.

Consequently the going-away gown of the bride is
generally tailor-made and some fine, dark cloth is
employed for it. For a winter bride, velvet or some
similar fabric may be employed in combination, but
neat stitching or plain well pressed edges make the
cloth gown in the best fashion for Fall and Spring
seasons' purposes. The hat should be a small fash-
ionable shape, just sufficientl}' handsome to correspond

BRIDAL OUTFITS 213

with the gown. The traveling hat is frequently made
in part or altogether of the material used for the gown.
The traveling toilette is never complete without a
seasonable wrap. If the weather permits, a jacket or
long coat made of the same material as the dress is in
excellent taste but in winter, the sealskin or cloth wrap
provided for general wear is all that is necessar)'.

THE GENERAL TROUSSEAU

The old fashion of stocking a bride with clothes
enough to last her the remainder of her natural life
haspassedinto history. That foolish idea is banished.

A young woman should only provide herself with a
complete and good outfit of clothes such as she should
have at hand all her life.

This outfit should be fresh and well made and not
lacking in necessaries, but that does not mean a dozen
dozen of each piece of underwear and a dozen trunks
filled with frocks. It means rather just enough cloth-
ing to last the bride one year, at the furthest.

No woman with real womanly pride wants her pros-
pective husband to provide her trousseau, and no woman
wishes her husband to be put to much expense imme-
diately. Yet it is not best to leave it too long before
allowing him to provide something for her comfort
and adorning. He will take a pleasure in doing it
and such harmless pleasures should not be denied him.

It is difficult to discriminate or to make positive
general rules that will be useful but for a young woman
in moderate circumstances, moving in a modest circle

214 BRIDAL OUTFITS

of society, a hint may be given and from that others
ma}^ draw information.

Such a bride will require but one half-dozen night
dresses, the same number of drawers, undervests, cor-
set-covers and dressing sacques. She will want the
same number of petticoats, with two flannel short ones,
one white and one colored.

A long black silk petticoat should be among the first
six. She will need the same number of hose, two
pairs of walking boots and as many house shoes. She
should have six to ten pairs of gloves and plenty of
collars and pieces of ruching and lace for her dresses.
Handkerchiefs may be unlimited but one dozen is
sufficient. There must be a winter wrap and one for
spring and autumn wear. Three hats will be required,
one for the best, one for general and another for even-
ing wear.

By way of gowns, she must have two woolen street
dresses, as many silk visiting or dinner dresses, one
evening dress at least — her wedding gown will answer,
if it is not too elaborate — two simple and pretty house
dresses and a heavy and a lighter wrapper or teagown.

She should be provided with good brushes for the
toilette and all the other necessaries for the same.

CHAPTER XVIII
FANCY AND THEATRICAL DRESSING

MATERIALS FOR STAGE DRESSES EFFECTS OF COLOR

WAISTS AND SKIRTS SOME FANCY DRESSES

MATERIALS FOR STAGE DRESSES

Materials for stage dresses are almost limitless.
There was a time when actresses wore gaudy gowns
made of the cheapest and flimsiest materials. But the
circus of the nineteenth century would not tolerate
them now. Indeed, in these days of luxurious stage
dressing, the richest fabrics are often employed.

Perhaps there is no better department to visit in a
shop, when hunting for materials for stage dresses than
the upholstering department. The soft drapery silks,
the heavy brocades and the handsome trimmings used
for draperies and furniture coverings are found very
effective for stage dresses. Miss Ellen Terry was
among the first, we believe, to patronize these depart-
ments and no actress has worn more artistic gowns
than she.

They are always remembered as distinctly elegant

215

2i6 FANCY AND THEATRICAL DRESSING

and appropriate. These fabrics make picture dresses
that belong to the "impressionists" school rather than
to Meissonier's where detail is more thought of.

But one soon finds that delicate fabrics, refined
"arrangements" of lace and minute details, that would
be appreciated in the drawing-room are lost sight of
and wasted in distant stage effects.

For instance, not long since a Spanish g3'psy dress
was required for a cliaracter in the opera "Carmen."
A dainty rose silk was elaborately trimmed with black
lace of fine quality and cut jet. The dress was exquis-
itely beautiful off the stage. The lady wore it for the
first time with her sister in the audience to take notes.
She immediately recognized the dress a failure. It
was not ugly but it was inane. It would never do at
all. Before it was worn again, it was treated to a
strong dose of red and gilt. A wide sash of soft red silk
was draped over the hips. The ends of the sash were
plentifully ornamented with loose gilt sequins. Pendent
loops of red ribbon finished like the sash ends were
mingled in the black lace flounce of the skirt and the
bodice and sleeves were trimmed past recognition in
the red and gilt. The dress then proved most effective
while not at all too gaudy. However, if one is an exper-
ienced purchaser, there are cheaper materials which
produce fine effects and many actresses employ them,
for pla5's of short runs and for incidental occasions.
Foreign draperies make artistic fabrics of great beauty
but no intrinsic worth. They are, however, difficulty

FANCY AND THE A TRICAL DRESSING 2 1 7

to find, it takes time and patient shopping to unearth
them generally.

But stage wear is very hard upon materials, and
goods which are frail and easily wrinkled are scarcely
worth purchasing and making up. The simple wear
on the stage is not worth mentioning, but it is the put-
ting on and off every night for weeks and the packing
in trunks for traveling that make stage clothes grow
passe. The actress' life is a busy one and she has but
little time for repairing or freshening up a gown in
use, as it really often requires.

EFFECTS OF COLOR

Select your colors in a strong gas or electric light.
Bear in mind those to be worn by others in the same
scenes with you, as well as the scenes themselves. For
wood or garden scenes, where a vivid green is the
prevailing tone, your costume should be of dull neutral
tints that will be restful to the eye. No greater mis-
take can be made than employing very vivid colors and
glaring effects on the stage of the present day ; colors
may be as carefully chosen as though for a private
ball or boudoir tea gown, but certain conditions have
to be criticall}' considered, which in a drawing-room
would be of no consequence whatever.

For example, the effect of paititcd scenery is to change
the tone of certain yellows, blues, and greens. A more
intense yellow can be worn on the stage than off ; those
yellows inclining to /5;7y7t'// requiring something to light
them up, or the yellow tones are lost ; deep damask

2i8 FANCY AND THEATRICAL DRESSING

will bring these out, white nullifies them, and blue in
any shade must not approach them. Brocades show
to best advantage with a clear ground and some pre-
dominant color, but in such a case there must be a
"rule of three" observed, which, indeed, is useful in all
costuming. For example, if red predominates in a
brocaded over-dress or polonaise, let us say, red must
be employed twice at least in the remainder of the cos-
tume ; as a lacing which shows occasionally, in a knot
of ribbon on the shoulder or elsewhere, in a frilling,
or even in the stockings ; and here we might say that
a rule very generally to be remembered is that the
stockings ought to repeat some color in the upper part
of the dress.

It is impossible to say why the following of these
rules should be productive of a harmonious effect.
Subtle as it seems, the fact is indisputable, and will
repay attention. Many costumers and professionals
are most careful in following these unwritten laws from
mere force of habit, but by studying the question
many new ideas suggest themselves to the mind.

Incongruities in the color of such articles as jewelry,
fans, parasols and flowers are to be carefully avoided
and in this connection remember that whatever is car-
ried in the hand is of the first importance. The move-
ments of the hands attract and fix the e3^e unconsciously
on the object held within them and its form and color
are for the time, the key-note of the general effect. So
particular is one actress about this point, that of one

FANCY AND THE A TRICAL DRESSING 2 1 9

of her most famous costumes she sent back the handker-
chief-bag, she was to have carried, because it was lined
with green plush similar to that of her dress.

"But, mademoiselle, " pleaded the modiste, "the lin-
ing matches precisely. "

"That is exactly it, "said the actress. "Do you not
see? The eye will fasten itself on the green of m)'
little bag, and — poiif! — where then is the effect of the
greoi in my dress? It reduces it to nothing. Line
the bag with whatever color is most becoming to the
skirt, so when I stand and open it, then the effect
will be delightful."

And the result proved as she predicted. The lining
of rich old gold gave a starting-point, as it were, to
the impression of her green plush gown, and she cer-
tainly opened her little bag with admirable effect.

There is no question, perhaps, connected with the-
atricals so perplexing to beginners as that of costum-
ing for stage effect. Old professionals find it diffi-
cult to be sure of results ; so much depends upon lit-
tle details and to secure successful results, not only is
some technical knowledge indispensable, but judicious
criticism "from the front" is absolutely required.

For private theatricals where the stage is simply an
adjoining room or a small raised and screened plat-
form, the difference need not be so marked. Still to
dress for an audience as one would for a drawing-
room is impossible even in society comedy parts. No
clearer evidence can be given of this than seeing an

220 FANCY AND THEATRICAL DI^ESSING

actress in an evening company/, dressed just as in the
scene she has quitted. The costume maj^ have seemed
very simple behind the footlights but in the drawing-
room its strong points are decidedly too marked; the
touches which has been so effective on the stage look
coarse and outre in the social scene to which she has
hurried.

WAISTS AND SKIRTS

For the professional stage there is no one article
more necessar}^ in the wardrobe than the white waists
known in the profession as "ballet shirts." They are
used with many costumes and are a great protection
to slip en under a hired costume, which one is fre-
quently forced to don when a change of bill is sud-
denly made.

The ballet shirt is made of fine white cambric, mull
or China silk. It will require frequent washing and
needs to be well made and of a good quality of either
fabric. It is simply a loose full blouse made with
a drawing-string along its lower edge which will held
it in at the waist. At the neck it may be either finished
by a medium sized turn-over collar or it may be gath-
ered with an edge on a silk tape also. The sleeves
should be very full and large, cut long enough to reach
the hand. They should be gathered at the top and
sewed in to the waist at the armseye, but gathered on
another drawing-string at the wrist. With this arrange-
ment, the sleeves may be worn flowing, free from the
arm \ they may be drawn up close to the wrist, or

FANCY AND THE A TRICAL DRESSING 221

they may be tied up on the arm just below the elbow
forming a puffed half-length sleeve. Jackets and
pointed bodices are very effective worn over them,
indeed much more effective than when worn over closa
fitted waists.

The length of skirts is another important factor in
stage dressing. The effect of distance and the raised
stage changes the effect of the skirt's length. If a
short skirt is to be worn it should be short enough to
show the upward curve in the limb above the ankle;
otherwise the limb looks awkward. With sliort skirts
there should always be a lace or soft mull flounce
tacked on to the under-side of the skirt with the lace
edge falling jvist below the skirt's edge.

Skirts worn on the street or in the house are always cut
two or more inches longer at the back than in the front.
But for short skirts on the stage, this should never be
done. The back always appears longer than the front
when seen from "in front" when they are of even
length and an added half inch makes the skirt hang in
a very objectionable manner. This applies alike to
petticoats and dress skirts.

As a rule drawing-strings are used in stage skirts,
although yokes are preferable on stout figures.

The width of fancy and stage skirts and petticoats
is also a trifle arbitrary as they sluiukl be made quite
scant, much more narrow than a round short skirt for
a miss is usually made.

222 FANCY AND THEATRICAL DRESSING

SOME FANCY DRESSES

The following are a few fancy dresses designed by
one of the cleverest French genre-painters : The first
represents a panther. It is composed of a short skirt
of yellow moire, striped with brown in a zigzag pat-
tern, and is fastened on the hips with panther claws.
The low sleeveless bodice is of sealskin and adheres
tightly to the figure. A court mantle made of real
panther skin is attached to the shoulders with diamond
clasps also in the shape of claws. Brown silk stock-
ings and shoes made in the form of the animal's paws
with onyx heels and claws are worn with this dress,
and the coiffure consists of a tiny panther's head with
emerald eyes, placed flat on the slightly waved hair.

The second is a Greek shepherdess. The loose gown
is of white crepe de chine, edged with silver arabesque.
A silver galoon gathers the flowing soft folds of crepe
in spirals around the waist and is tied on the left side.
The hat is silvered straw, with a garland of wheat-ears
made of coral around the low crown. Flesh colored
silk stockings and silver sandals with pink coral heels
complete this simple but pretty costume.

The North Pole is another of the great artist's exqui-
site compositions. It is 2^ four e a of shimmering pearl-
colored satin over which are gathered folds of soft and
extremel}' transparent silk gauze; diamonds and rock
crystals cover almost every part of the skirt and cor-
sage, which are edged with swans-down powdered with
diamond dust. A long square court-mantle of cloth of

FANCY AND THE A TRICAL DRESSING 223

silver hangs from the left shoulder, where it is fastened
by a dazzling diamond star. Scattered all over this
mantle are snowballs made of swans-down and icicles
of rock cr5'stal The hair is powdered and a scarf of
thinnest white gauze spangled with silver is airily
thrown over it. A great crescent of diamonds and
sapphires is placed above the forehead and a chaplet of
icicles encircles the waist.

Last but not least comes a most ethereal mixture of
primrose velvet and ros}' tulle representing "Dawn."
The skirt is very short and is of pale primrose vel-
vet and rosy tulle powdered with a shower of peach
blossom petals and buds, and hemmed by a thick gar-
land of peach-blossoms sparkling with dewdrops. The
bodice is entirely composed of peach-blossoms, over
which a delicate veil of dew-bespangled tulle is draped.
A wood dove with outspread wings clings to the left
hip and another nestles in the powdered hair, forming
a delightful and novel coiffure.

Then, there is the Polish girl, who must wear a
corselet with a slashed skirt of ruby velveteen, bordered
with white fur, over a dress of blue vicuna cloth
wrought with gold thread about the edges. Her hat,
with its long ostrich feather, and her high boots are
also in ruby velvet trimmed with white fur. A ba3'adere
scarf is knotted about her waist, a necklace formed of
two rows of gold beads is clasped about her throat, and
there is a bow of blue ribbon fastening her long braided
hair.

224 FANCY A ND THE A TRIG A L DRESSING

The Roman contadina will, of course, have a black
merino skirt, and a black velvet corselet, above which
there rises a white linen chemisette elaborately woven
or embroidered in many-colored threads, as is also the
square apron confined to the waist with a bright rib-
bon. There are coral beads round the neck ; the white
muslin head-dress is trimmed with lace and fastened
to the head with small gold pins.

The dress of the Roumanian peasant made with a
straight skirt, full waist, and flowing sleeves is all of
white linen embroidered in intricate designs with col-
ored cottons and tinsel. The belt is of figured gold
galoon, with tassels, and the cap is of linen, elabor-
ately embroidered to match the dress. The stockings
are cotton of some striking color.

The Albanian maid is perhaps the most striking of
the group. She wears full knickerbockers in soft red
silk. Her txmic is of blue beige crossed with inser-
tions of embroidery and the fringed scarf which con-
fines it is striped gauze of varied hues. Over a blouse
in tinsel muslin is thrown a loose jacket of deep red
velvet. The daint}^ feet are incased in red silk stock-
ings and little Turkish slippers in red morocco. The
fez, which completes this picturesque costume, is
thickly covered with gold sequins.

A Tunisian is alwaj^s an attractive member. Over
a short skirt of black nun's veiling, bordered with rows
of gold braid, this young person wears a blue cloth
frock made with a bewildering number of revers and

FANCY AND THE A TRIG A L DRESSING 225

lapels and tabs, all wrought with gold thread. The
long, loose sleeves are ver}' like the flowing "angel"
sleeves that everybody wore twentv years ago. On
her fluffy hair rests a blue and gold cap.

Two pretty, bright costumes belong to the peasants
of Provencal and Flanders. The frock of the former
is of gray delaine or cashmere, edged with gold cord.
About the neck is a stiff collarette of lace and muslin,
while the sleeves are trimmed with a double row of
lace. The coquettish little apron with its two pockets
is of black silk edged with a lace frilling ; the circular,
somewhat forbidding cap is "built" of black wired net,
with a goffered brim and a pleated aigrette. The whit-
est of stockings, blackest of shoes, and a tiny gold
cross hung about the neck on a bit of black velvet
complete this costume. The Flemish peasant's dress
is even more elaborate. The frock itself is of maroon
serge trimmed with rows of narrow black velvet ribbon.
The tunic and the corselet, fastening over a low chemi-
sette of white muslin, are of a cedar brown wool
embroidered with gold. The apron is edged with lace,
as is also the coiffure of tambour muslin, which is
fastened with small gold pins.

A quaint little figure is the Dutch girl, who is sure

to carry her welcome with her into wherever she goes.

She wears a sober skirt of brown beige, with a black

velvet stay laced with silver braid, rows of which also

appear upon her black silk apron. Her chemisette of

white muslin is very simply made, and fastened with
15

226 FANCY AND THE A TRIG A L DRESSING

gold linked buttons. On her yellow hair is a wonderful
muslin cap secured with bristling cork-screw pins in
gold.

CHAPTER XIX
HOW TO BE YOUR OWN MILLINER

CORRECT TASTE TO TRIM A HAT HOW TO ISIAKE A STIFF

CROWNED HAT OR BONNET MAKING DRAWN BONNETS

OR HATS — TASTE IN COLOR

CORRECT TASTE

It would be interesting to discover how man}^ of
the charmingly dressed women of to-day whose becom-
ing and stylish hats and bonnets constantly challenge
admiration in churches, theatres, in the Park, and upon
the streets, are actually their own milliners. But a
correct census would be extremely difficult to obtain.

Undoubtedly a number of women of fashion are the
authors of their own dainty head-gear, but they do not,
as a rule, acknowledge their handiwork. While some
even take great pains to conceal their skill, as for
example, when a hat-band bearing the name of some
London, Paris, or New York house of vogue is care-
fully cut from a discarded bonnet and inserted in the
home-made article. This silent witness removes all

necessity for repeated prevarication. Even privileged

227

228 HO W TO BE YO UR O WN MILLINER

intimates who are admitted to the sanctity of my
lady's dressing-room, and see the inside of her new
bonnet, can thus read for themselves where the "cre-
ation" hails from.

The woman who can do this must have the sense
of color and form of an artist, and of an "artist-artisan. "
She must be gifted specially who can produce beautiful
bonnets entirely on the strength of her own inspira-
tions and without any knowledge of the technique of
the trade.

Some women are born with a knack for putting rib-
bons, laces, and feathers together, making lovely
headgear out of almost any materials. They are born
milliners and instinctively go to work the right way.
Others must learn the trade or not attempt to do the
work.

Nothing definite can be said as to the amount of
materials required. This depends upon the shape
chosen, the way it is made, and the kind of material
used. Of crepe de chine three yards can be put in a
bonnet, it is so soft and filmy. The same amount
could be crushed in your hand. Of heavier materials
a proportionate less amount is generally needed, but
no rule can be given.

Do not over trim. That is one of the worst faults
of inartistic millinery. Nothing offends good taste
more than a too lavish use of ornament in any direc-
tion. Every artist seeks simplicity, and you will find

HO IV TO BE YO UR O WN MILLINER 229

it true that the most stylish chapeau is always one that
is not greatly trimmed.

That American women are supremely endowed in
this direction can not be denied. At the same time
the thought occurs that if some of these home bon-
net-makers would only be a bit more careful about the
finish of their work — if they would only guard against
a certain carelessness of detail which imparts an unmis-
takably "homemade" appearance to their efforts — the
slight extra trouble thereby incurred would be fully
atoned for, by the exquisite perfection of the result.

Neatness and not primness is the thing to practice;
however, a hat or bonnet which is given too many
stitches or is sewed too tight is never artistic, but
carelessness or rough unfinished work can ever be artis-
tic either.

TO TRIM A HAT

An amateur will not be wise to commence by attempt-
ing an entire hat, but will begin with simply trimming
a straw or felt shape. This is a much simpler thing
to do. Let us take for example a round straw or felt
hat that is to be trimmed with velvet and a bird's wing ;
that is as simple as the making of any hat can be.

"The design, should always be thought out before
trimmings are handled; that, at least, is my method,"
said a milliner lately. "I know exactly how it is to look
before I give my orders and can tell just how much of
each kind of material will be required. My suggestion is
to use as little material as possible to produce the

230 HO W TO BE YO UR O WN MILLINER

desired effect. Have no useless ends turned under or
folded out of sight ; they spoil the effect. Cut off all
that is not needed and discard everytliing that is not a
part of the design. "

There should be as little sewing as possible, but all
must be firmly fastened, so that there shall be no loose
ends or coming to pieces. Nothing can look neat that
is insecure. On the other hand, too much sewing
will make a stiff, awkward effect, so be careful to place
stitches only where they are needed for securit)\

In the first place, in trimming a hat, the velvet should
be purchased cut on the bias of the goods. Every clerk
will sell it in that wa3^ Cut from one edge of the vel-
vet a length one and one-half inch in width, as a binding
for the edge of the hat brim. Lay this along the edge of
the brim upon its under-side with the velvet's wrong side
out. Stitch it on with a strong cotton thread taking
long back stitches, holding the velvet tight. Then
turn under the other edge of the velvet and it over
the edge of the brim and if the ends of the velvet are
joined, no further sewing is required as the binding
will fit tightly in place.

If tlie crown of the round hat is to be trimmed with
a smooth band of velvet laid around it, cut the band
the required width allowing a good half-inch to turn
in on each side. Cut it bais the same as the binding.
Baste in place the turn-under on each side with fine
cotton in long stitches and fasten tlie band tight around
the crown of the hat. Then draw out the bastings.

HO W TO BE YO UR O WN MIL L INER 2 3 1

When we say to draw the bias bands or binding
tight we do not mean too tight, but close enough to
make them lay close to the shape.

Then come the loops, bows or knots of velvet among
which the stiff feather is attached. These vary much
according to fashion's edicts but the loop about three
inches wide, and about as long when doubled in, is
almost alwaj'S a part of the ornamentation. It is made
also of the velvet cut bias with its edges turned in and
held in place by long slip-stitches. When they are
wanted to stand erect, a bonnet wire must be inserted
in the fold and tacked fast to the hat in the desired
position.

The application of a facing to a broad-brimmed hat,
or a flaring bonnet, presents the next difficulty for
conquest. The apprentice learns to cut carefully from
the frame, or shape, of straw or felt, an exact pattern
in paper, which is then laid upon the material and the
facing fashioned according to it. This insures accur-
acy and prevents waste of material.

When these merely mechanical parts of millinery
have been mastered, then comes all the adjustment
of bows and folds, frills, feathers and other fripperies
and it is best to learn the knack of adjustment by
copying the work of others. Then the young milliner
soon turns her own graceful fancy loose, when, if she
is the least bit of an artist in her trade, she will pres-
ently begin to produce original arrangements.

232 HOW TO BE YOUR O WN MILLINER

HOW TO MAKE A STIFF CROWNED HAT OR BONNET

Those who undertake to learn the trade of millinery,
find that wire and buckram and foundation net repre-
sent the A B C's of the art. The novice in the trade
must spend a good six months learning to form shapes
with thesematerials. She copies them at first from oth-
er frames, then from plates,, and finally, carrying out
some written or verbal description, she is able to model
the hat or bonnet without a pattern.

But there are shops where the most desirable "shapes"
or "frames" can be purchased ready made and it is a
pure waste of time to make them oneself. Perhaps
the exact shape wanted may not be obtainable, but
something very near to it is generally, and it will be
found by experience, a very easy matter to make altera-
tions in it.

For instance if the brim is too wide, rip off the wire
cord which finishes the edge and carefully trim off the
buckram or stiff net of which the frame is made ; then
in the long over-casting stitch, fasten the wire on again
to the new and shorter edge. If the brim is too nar-
row, it is almost as simple a matter to take some stiff
crinoline or buckram and lay it on the present brim
allowing it to extend to the desired size. An extra wire
should always finish this new edge. If the crown is
found too small, it can be slashed at the back or side
where the greater room is required and a wire sewed
all around the crown and over the opening will hold
it in place. Of course it is well understood that the

HO IV TO BE YO UR O WN MIL L INER 233

frame or foundation can be bent, fastened up or down
on one side or the other and generally changed as taste
or fancy may dictate.

There is no comfort in a bonnet which does not
fit easily and exactly to the head, —which either hurts
the temples of the wearer, or falls back with the first
puff of wind. You will learn by practice how to
judge of the size of the crown, and the bend of the
frame so as to make the bonnet comfortable to the
wearer. However, all enlarging or making smaller
must be completed before beginning to cover the frame
with the outside material.

But when the "anatomy" of the hat or bonnet has
been mastered in this way the next step is to cloth it.

A pattern must be cut for each part. First, a pat-
tern for the top of the crown, another for the sides,
another for the top of the brim and yet another for
the under side of the brim. It may seem superfluous
to cut patterns for the upper and under sides of the
brim separately, but it will be found on the whole the
better course to pursue. These patterns should be cut
by laying smooth, not too stiff paper, on each part,
and creasing it until it fits the frame exactly.

The crown top is easily cut, but the brims demand
more patience. For them take a straight piece of
paper as wide as the widest part of the brim and
gradually lay it around the brim until it fits, by lay-
ing pleats to make it do so. Fasten each pleat in
place with a pin. After this has been done, trim off

234 HO W TO BE YO UR O WN MILLINER

its edges to correspond with the edges of the brim
and then lay it on a large square of smooth paper and,
allowing for seams on each edge, cut out another pat-
tern without pleats in it. Lay this on the brim so as
to be sure no mistake has been made. Then proceed
to cut the under brim pattern and the sides of the
crown in the same manner.

When the patterns are prepared lay them all on the
velvet, silk or cloth to be used for making the hat.
By doing this, much material may be saved. It is a
canon in milliner}^ to make coverings of brims and
crowns bias in front, even if they slope until quite
straight at the back.

When the parts have been cut, first lay the crown
on the frame smoothly ; tack it in place with pins stuck
through just once and then stitch it fast permanently
with long back stitches. Cotton holds these parts
better than silk thread. Then lay the two brim
covers together with their right sides next each other
and seam their outer edges together. All seams and
over-lapping edges should be pared off as narrow as
possible. Slip these covers over the brim, which will
require a little bending of the brim to do, but it will
easily bend back into the proper shape.

A very much simpler way would be to take a bias
piece of the material twice as wide as the brim and
almost twice as long as the brim is around, gather it
on each edge and draw it over the brim, making what

HO W TO BE YO UR O WN MILLINER lis

is called a fulled brim. These are always becoming
and soft against the face.

For this fulled brim, a roll of soft tissue paper, as
large as your finger is tacked on the edge of the brim
before the gathered material is drawn over it. This
gives a desirable extra softness to the edge.

Let the inside edges of these brim covers extend up on
the crown and notch those edges until they set into the
frame properly. After this la}' the covering around the
sides of the crown. This must cover the raw edges of
both crown and upper brim cover. Baste a turn-over on
each side of this cover for the sides of the crown and
draw it tightly around the crown. After it is fastened
together at its ends, the bastings may be clipped here
and there and all drawn out.

The last touch is a crown lining, a double piece of
gauze is sewed by long stitches at the edge of the crown
and then drawn tightly up at the center so that not a
shred of frame is left exposed to catch and ruffle the
hair of the wearer.

MAKING DRAWN BONNETS OR HATS

The front of a drawn bonnet is made of a length of silk
cut the straight way; — that is, with the selvage going
round the outer edge of the front, to prevent the neces-
sity of any joining, A broad hem is made, in which
there are three, four or five runnings, forming casings for
the wire or cords which are to be slipped in. Through
the outermost of these casings, a stiff wire is run, to
give the right shape to the front. Other sets of cas-

236 HOW TO BE YO UR O WN MILLINER

ings have to be run in the front, according to the
number of drawings intended.

The cord, or whalebones, having been slipped into
the casings, must be fastened at one end. The silk is
then drawn into shape, and the whalebones are fastened
at the other end. Whalebones are often purchased
ready prepared for white bonnets, — that is, covered
with white paper. Supporters of wire, covered with
silk the same color as the bonnet, or covered silk wires
manufactured for the purpose, are fixed from the outer
to the inner edge of the front to keep the whole firmly
in its shape. The crown is drawn in the same way as
the front, and is made circular by being fixed to a
wired net.

Not infrequently the amateur milliner trims her bon-
nets too much. It is often the finest art which lets
them alone, and a pretty velvet hat or bonnet, the
curves of which crown or frame the face becomingly —
gather up the brightness of Goldilock's tresses or rim
the dusky masses of a dark beauty's hair — requires but
slight adornment.

Still this must be governed a great deal by prevailing
stjdes, and practice in trimming. It takes a little time
to learn just how to twist the wires of flowers to make
them lay close to the hat, and much patience to make
an ostrich plume curve just the right way.

The hat-amateur often skips the preliminaries of
the trade and plunges at once into all the perplexities
of velvet, tulle, flowers, feather? and furbelows. Not

- HO IV TO BE YD UR O WN MILLINER 237

infrequently her experiments prove expensive failures.
She is pretty sure to waste a good deal of material,
and she invariably takes several thousand times the
number of stitches which are really essential to the
successful fabrication of the attempted headpiece, but
success awaits her further on along the lane of her
experience, and she finally achieves a bonnet to feel
proud of, and acquires a degree of skill which is sur-
prising in one entirely self-taught.

But if she will carefully read the above suggestions
she can not go far astray. We ma}^ mention here that
milliners and dressmakers are subject to two troubles
which would be trifles to any body else, but which
are serious inconveniences to them. One is the warmth
of the hands, in summer time, and in all seasons of
hurry and over-fatigue ; and the other is the roughness
of the forefinger of the left hand, from the skin being
perpetually broken with the needle. The heat of the
hands may injure some delicate colors, and take out
the stiffness from net or ribbons : and the roughness of
the fore finger may fray satin and fine muslins, and
catch disagreeably at the blonde or net that you are
employed upon. If you have been well taught, how-
ever, you will have acquired a habit of holding your
work lightly in your fingers, so as not to touch more
of the material at one time than is necessary. If 3'ou
grasp it in the palm of j^our hand, it is impossible
that any look of newness should remain in your mate-
rial when your work is done. The only remedy for the

238 HO \V TO BE YO UR O WN MILLINER

inconvenience of warm hands is dipping them fre-
quently in warm water. Pumice stone will smooth off
the forefinger perfectly.

TASTE IN COLORS

Our success as a milliner will much depend on the
knowledge and taste we acquire about the choice and
arrangement of colors. A good eye for colors is neces-
sar}' in the dress-maker, but it is perhaps the very first
professional requisite for the milliner.

ft is certain that some colors are naturally more agree-
able to eyes than others. Everyone, for instance,
relishes the bright green of the meadows, and the shaded
greens of the woods, more than any kind of reds,
unless the reds are mixed with other colors. It is no
less true that some mixtures of colors are pleasing to
all eyes, and others displeasing to most. Every one
likes to see lilac and green together ; and lilac and
primrose ; red and dark green ; fawn color and blue ;
brown and yellow and pale blue and pink. On the
other hand, every one sees ugliness in a mixture of
blue and green red and yellow, yellow and pink, lilac
and blue, and many others. If your eye does not
teach you this much at the outset, we should fear that
you would hardly excel in the more ornamental parts
of the work you will have to do. If, however, your
natural taste be ever so good, you will find that you
may refine and improve it exceedingly by observation
and study. If you are in earnest, every object in the
beautiful kingdom of Nature, — every flower in the fields

HO W TO BE YO UR O WN MILLINER 239

and gardens, and every cloud in the morning and even-
ing sky, will give you lessons in the blending of colors.
And what lessons can be pleasanter than the study of
beauty?

One plain rule on this subject is, to make the arti-
cle,— whether it is gown, bonnet, or cap, — of one pre-
vailing color, keeping the trimmings subordinate to it.
It is unsatisfactory and painful to the eye to be dis-
tracted among a variety of colors, — no one prevailing
for the e3^e to rest upon. If a dress is made of a striped
or checked material, where no color prevails, the
trimming should be made of one only of the colors,
and one of the soberest ; so as to give to the dress the
predominance of hue which is wanting in the material.
Another plain rule is, to arrange by daylight the col-
ors of a dress or a hat which is to be worn by day-light ;
and to wait for gas-light to choose the trimmings of
a winter evening dress. Colors which agree beauti-
fully at noon, sometimes fail miserably by gas-light,
either producing no effect at all, or looking positively
ugly. Even in matching, this precaution is required.
That which is a perfect match in the morning may
turn out something quite different in the yellow light
of the drawing-room.

Such nicety is particularly necessary in matching
black. The handsome appearance of mourning mainly
depends on the entire dress being of a uniform black.
Mourning, however new and costly, looks shabby if
the gown be of "jet" black, the drapery" of "medium,"
and the trimming of "purple" black.

(

CHAPTER XX
THE DRESSMAKER AT HOME

THREE METHODS PREPARING FOR THE HOME DRESSMAKER

HINTS FOR MAKING OVER DRESSES

THREE METHODS

The woman who can with her own fingers make her
own gowns is a very independent woman, and need
never look dowdy. It is to furnish such knowledge
this book was written. Even if a woman does not
need or wish to devote her time to the business of
making her own or other's clothes, she should be
possessed of the knowledge in order to know how to
obtain good work from others.

Every woman who presides over a house that is com-
fortable and homelike must understand the principles of
cooking and sweeping and dusting although she may
never be required to actively engage in them.

There are only three ways of keeping ones wardrobe
in order; first a woman ma}'^ go to a dressmaker and

give an order for the gown and when it is decided that

240

THE DRESSMAKER A T HOME 241

it is a street or house dress that it is to be blue, brown
or some other color, she leaves the details of finish
and cost to madame. This is alwaj's an eas}^ way out
of the difficulty although it is not alwa3's an entirely
satisfactory one.

In the second place, a woman may bu}', cut and make
her own gowns. This guide will enable her to do so,
if she has the time at her disposal and the woman
who has this enviable faculty of fashioning her own
simple gowns is usually a better dressed individual
than the helpless creature who spends twice the money
on the gowns her dressmaker plans and makes for her,
and which have little individuality or originality in
their arrangement, and might be worn by twenty other
women as well as the one who pa3's such enormous
prices for them.

In the third place, a woman may secure a home
dressmaker and personally supervise the work in its
detail, for women who can not do all their sewing, this
is a good thing to do when half worn garments are to
be made over.

PREPARING FOR THE HOME DRESSMAKER

In such case to economi?^e time and expense, all pos-
sible preparations should be made for the dressmaker
before she comes. Gowns be ripped apart, cloth
sponged and pressed, silk cleaned, laces for trimming
freshened, and all new materials to be used bought
and in the house. Linings, sewing-silk, thread, twist,

whalebones, reeds, hooks and eyes, braid, buttons,
16

242 THE DRESSMAKER A T HOME

should all be provided, that when the dressmaker
arrives her work may be ready for her, and no time
need be wasted in sending for articles for lack of which
everything is at a stand-still. All goods to be dyed
must be sent to the dye-house at least three weeks
before they are wanted. A word of caution may not
be amiss with regard tcT dyeing. Some woolens dye
nicely, but it never pays to dye a silk. The crackling,
stiff quality imparted to it by the process stamps it
unmistakably. Even a fine silk looks cheap and com-
mon after dyeing.

Garments may often be dyed without being ripped.
Waists are apt to shrink and stretch out of shape,
but a skirt is not seriously altered. Every grease spot
must be sponged from the fabric before it is sent to the
dyers. If not, it is certain to appear later, and
is then almost impossible to eradicate.

The task of ripping can be taken up at odd moments,
and a great deal thus be accomplished. There should
be a roomy receptacle for all scraps. Either a trunk
or a large drawer may be set aside for pieces, or if both
of these are out of the question, there should be sev-
eral piece-bags provided, one for linings, another for
wash goods, another for woolens, another for silks,
velvets, and plushes. The remnants of each kind and
color should be made into neat rolls, pinned or tied.
Smaller bags may hold buttons, hooks and eyes, etc.
By the practice of such a system as this, infinite time
and trouble may be saved. The habit of keeping but-

THE DRESSMAKER A T HOME 243

tons from year to year is to be commended, as a set
that has been worn one season on a street costume
may do duty later, on a house-gown or a wrapper.

When the dressmaker has arrived, and is fairly set-
tled at her work, the house keeper's period of trial
begins. She is in a strait betwixt two. She wishes
to spend all the time she can with the seam tress. In
addition to this, it is an indisputable fact, be the
reason what it may, that even the most conscientious
dressmaker, apart from the assistance she receives,
accomplishes more when she has some one sewing
with her than when she is left to herself. The house-
wife realizes this, and knows that to lessen the amount
of time she must keep the "necessarj^ evil," and pro-
portionately diminish the bill for services rendered, she
should offer all the help in her power. Yet the remem-
brance is fresh in her mind of the masculine animad-
version upon the prevalent state of the larder during
the period of "making over."

To achieve her desire she should so arrange her
work that she will have few extra duties while her
dressmaking is on hand. She should make no out-
side engagements that can possibly be avoided. She
should also exercise judgment in selecting such
dishes for the table as lie within the capabilities of
her work, and yet guard against a plainness of food in
too marked contrast to the ordinary mode of living.
There are plenty of pretty desserts, notabl}' those of
fruit, that are simply made, and do not demand the

244 THE DRESSMAKER A T HOME

presence of the mistress in the kitchen. Now, too, is
the time to call upon the resources of the grocer, and
to purchase potted and curried fowl, game, sausages,
kippered fish, and the many nice prepared puddings.
As well, the housewife should guard against permitting
her absorption in her work to cause her lapse into
carelessness of house or person.

HINTS FOR MAKING OVER DRESSES

All through our preceding chapters on sewing, the
necessity of careful, painstaking pressing with a hot
iron is emphasised, but in making over garments it is
even more indispensable. When the garment is ripped
apart each piece should be pressed and when new
seams are sewed or new hems and facings made, the
pressing into final shape must be thoroughly done.

But before beginning these details one golden rule
may be laid down as appliable to every department of
dressmaking : this is simplicity.

It is quite probable that the sewing-machine did
much to introduce fussiness into dress ; but the first
wild impulse, which rose with its advent, to put all
the stitches possible on a garment, long ago died a
natural death, though its ghost rises up now and then
to haunt us. The ancient Greeks had no sewing-
machines, and their costumes are models of artistic
beaut}^ With them there was no temptation to sacri-
fice grace to stitching.

It is the common fault of the amateur dressmaker
to put too much work on a garment. A fussy gown is

THE DRESSMAKER AT HOME 245

never a tasteful one ; and a costume is often marred by
meaningless details. When women sometimes spend
days or weeks on some elaborate design, which when
applied to the costume artistically ruins it, it repre-
sents time, strength, patience and perhaps ingenuit}',
but not taste. Hence a great deal of strength is spent
without good results. There is safety in plainness.
It is not so bad a rule to begin a dress with the idea
of leaving off the trimming. Though this may seem
to point to the other extreme, it will at least result
in a simple garment. Coquetry is allowable in dress,
but fussiness, never.

In combining two materials that have been used
before in a dress, the home dressmaker is advised to
select a plain fabric for the most important parts, and
figured stuff or stripes for the accessories. She is also
warned not to use too much of the figured goods, as a
preponderance of what should be the subordinate fab-
ric detracts from the elegance of the gown. Three
yards of the contrasting material can be far more effec-
tively arranged than if six yards were used.

The home dressmaker wlio wishes to furnish up the
front of a partly worn corsage is advised that soft vests
or plastrons are easily put on, and are generally more
stilish than smooth vests. A single breadth of surah silk
is all that is needed, and this may be used alike for silk
or wool dresses, and may be of the same color or in
bright contrast. Red or white soft vests are seen on
dresses of almost any color, and it may be added here

246 THE DRESSMAKER AT HOME

that the crinkled silk Japanese crape is chosen for very
handsome vests instead of surah. The breadth is
shirred across the top, which is curved to fit the neck
of the dress in front, and is sewed on three inches of
the right side of the dress neck, making the middle
reach the buttons, and is then lapped the same distance
on the left side, where it disappears under a revers of
the dress goods or velvet. This vest may be long
enough to extend to the waist-line, or even to drop
below it in a puff, or it may be a short square or else
pointed to stop at the top of the darts, where a stom-
acher may meet it, or the fronts of the dress may be
laced below or simply buttoned.

A high velvet collar also freshens up a dress, and
when made with the vest just described, should lap to
the left side, and be cut in a point there, or else held
by a small bow of ribbon.

A bright yellow or poppy red Japanese crape vest is
liked for black silk or grenadine dresses, and with this
may be V spaces cut between the vest and sleeves,
and filled with a puff of the crape. The sleeves are
then completed with a puff of the same, coming out
like an under-sleeve, which is gathered on a wrist band
of ribbon.

A yard of beaded passementerie can be made to retrim
a plain waist and sleeves prettily by putting a row
down each front from neck to darts, beginning an inch
below the button-holes. The lower end is finished
with a point or a tassel. A row of the trimming is

THE DRESSMAKER A T HOME 247

placed on the upper side of the sleeve at the wrist,
and below this is a gathered scarf of the dress goods.
If a dog-collar is to be covered with the beaded trim-
ming, a yard and a half will be needed, and galoon
with straight edges should be chosen in preference to
the vine patterns of passementerie. Beaded fringe
two inches wide may be cut in short strips and placed
crosswise each side of the buttons of a corsage. If the
lower edge of one row laps over the top of that below
it, it makes a very effective trimming.

A black surah or gros grain basque can be tastefully
trimmed anew with three-eighths of a yard of jetted
net, which is gathered up as a full plastron, square
or in V shape, and there will be enough left for a
gathered scarf on each sleeve as a cuff.

Now, in the making over of house dresses it must
be remembered that they are alwa5^s most attractive
and charming if they are made in light dainty colors,
particularly if the woman who wears them would please
the man she likes, and what woman dresses at home
for any other purpose? Men are the most gullible
creatures about dress. They are caught with a color
every time. Your new street gown comes home in its
quiet, refined elegance, for which you have paid a
perfectly scandalous amount, and the man for whose
opinion and admiration you care most elevates his
lordly nasal organ to a very disagreeable angle and
thinks the gown is well enough. You wearsome light-
tinted gown that has been cleaned and turned and

248 THE DRESSMAKER A T HOME

dyed, that you made yourself, or that a cheap home
dressmaker toggled together for you, you give it a
dash of gold somewhere, and, behold, the man raves,
and will have you wear nothing else. And so these
simple gowns that the clever woman can make herself
will be sure to satisfy the husband when he comes
home to dinner, if there are no formal guests, or the
lover who drops in unexpectedly in the evening.

CHAPTER XXI
FABRICS, LACES AND EMBROIDERIES.

VELVET — SILK — LINEN CLOTH LACES — EMBROIDERIES

OSTRICH FEATHERS — WIDTHS OF DRESS FABRICS

VELVET

Velvet is the handsomest among handsome materials ;
in Europe, since the first centuries of our era, it was
considered as a sumptuous fabric and was called Samit.
About the year 800, the famous Caliph Haroun-al-
Raschid presented the emperor Charlemagne with sev-
eral pieces of beautiful Samit manufactured in Persia.

At a later period M^hen the city of Antioch was pil-
laged in 1098, the Crusaders seized upon such an enor-
mous quantity of Samit that many chiefs and soldiers
made considerable money by selling pieces of that
precious material.

Velvet was always called Samit in the eastern countries
as, according to tradition, it was believed that the
island of Samos only would produce the special kind
of silk purposely and exclusively employed for manu-
facturing the Samit.

249

250 FABRICS, LACES AND EMBROIDERIES

At first the beautiful texture was reserved for the
dead — illustrious persons were wrapped in Saiiiit shrouds
and a pall of the same was thrown over the coffin —
but, some Mussulman princes took a fancy to Samit
turbans, and, henceforth, it was considered the richest
material for handsome garments and turbans.

In Europe our great grandmothers of the eleventh
century, whose taste and elegance were equal to our
own, wore Samit costumes; these dresses were more
elaborate than the present costumes: the style consisted
of a species of long tunic with large funnel-shaped
sleeves ; this had a broad border richly embroidered in
gold and pearls and worn over a narrow skirt made with
silk, and edged with heavy gold fringe ; this skirt set off
all the beauty of the Samit tunic.

During the thirteenth and fourteenth centuries the
nobility of both sexes had their coat-of-arms embroid-
ered on the dress ; the various bright colors and gold
and silver threads employed on those emblazoned gar-
ments produce a magnificent effect on the rich ground
of the Samit.

About the same epoch Samit was given another name
in Europe, and called Velux, Veloiix, Velvet, Velluyan;
it was also adapted to other various usages, such as
hangings and coverlets for beds, also covering mat-
tresses; this was an Eastern custom greatly appreci-
ated by Sybarites.

Some time about the twelfth century Sainits were
manufactured in Palermo and some other cities in

FA BRICS, L A CES AND EM BR 01 DERI ES 25 1

Italy; Lucca was celebrated for its velvet manufacture,
at the same time ornaments and rich garments for the
church were made with the utmost success.

"Knights alone, in their own right, could wear Vel-
vet."

A dress reported as magnificent was worn by Mar-
garet of York on her marriage with Duke Charles the
Bold of Burgundy; she was attired in a splendid robe
of white Samit edged with a very deep band embroid-
ered with gold, rubies, pearls and emeralds; and this
dress, very becoming to her style of beauty, fitted her
to perfection.

The end of the fourteenth century introduced the
fashion of blue velvet with series of gold fleur-de-lis;
history describes Charles VII. dressed in blue velvet;
even his saddle-cloth was to match.

Agnes Sorrel, the "Dame deBeaute, " favorite of the
king, was particularly fond of velvet ; in all portraits
she is represented attired in black or blue velvet robes ;
the shape being a kind of princess dress trimmed with
ermine; the corsage was laced in front; she dressed
always superbly and the ladies of the Court followed
her example.

At a later period, and well worth mentioning, was
the superb and immense court-mantle of royal purple
velvet, lined and bordered with ermine and fastened by
wonderful diamond clasps, worn by Eleanor, the sec-
ond wife of Francis I., of France, when she entered in
state the city of Bordeaux.

252 FABRICS, L A CES A ND EMBR OIDERIES

The bridal dress of Mary Queen of Scots, when she
married Francis, the dauphin of France, was greatly
admired, her robe and court-mantle being of white vel-
vet embroidered in white silk and precious stones.

It was in 1470 that the first manufacture of velvet
was establishd at Tours in France. Six 5^ears later,
the Duke of Brittany, Francis II., sent. for some Flor-
entine mechanics, very skillful in their art, who took
charge of a manufactory established in Vitre by the
duke.

Subsequently, in 1536, Stephen Turgucti ?i.\\d. Barthol-
omew Nariz, both from Genoa, were authorized, b}^ spec-
ial license of king Francis I. of France, to establish a
manufacture of silks and velvets in the city of Lyons ;
from that time to this present day, the Lyons manu-
factures have maintained their unrivalled celebrit}^

The best velvet is fine soft and pliable, made entirely
of silk. The nap is sliort, thick and even. For milli-
nery the narrow widths cut to the best advantage, but
for dresses and wraps the wider varieties should be
chosen. This because the less number of seams possi-
ble the better. There is no way of making them less
apparent, as can be done in manj^ other fabrics hy thor-
ough pressing.

To be didactic, a study of texture will pay the stu-
dent. It is all nonsense to buy cheap stuffs. The}' do
not pay. They never look nice. They wear just as
long as a good fabric, but they are shoddy to the end.
A cotton handkerchief will last as long as a linen hem-

FABRICS, LACES AND EMBROIDERIES 253

stitched and so will a cotton towel, but one has to
take the shower of fluff with economy, and the vio-
lence done to taste and the loss of personal comfort
vastly outweigh the gain in nione}'.

Don't buy velvet or any other fabric unless you can
afford it. If you get a cotton back, the warp will stare
at you day and night. The frequency of special sales
makes it possible for a woman to get a very excellent
dress pattern now and then for a reasonable price.

SILK

The manufacture of silk was first introduced into
England during the reign of Henry VI. However, it
was an important industry in China from a very remote
period. It is spoken of in that country's records as
far back as 2640 B. C. But the Chinese guarded their
secret of its manufacture most jealously. Still before
the time of Alexander, tlie Great, it had penetrated to
the island of Cos. We are informed that Famphile,
the daughter of Plates was the first to spin the wind-
ings of the cocoons, and subserve the labors of the silk
worm to the adornment of beauty. Persistent efforts
have been made to stimulate sericulture in both Great
Britain and America but with little success. The
looms of Persia and Italy are celebrated, but China,
Japan and the Levant continue the markets where silk
is manufactured abundantly and permanentl)'

Silks that are weighted by dye do not wear well and
are never cheap no matter how small their price. A
simple way of testing a black silk's purity is to burn

254 ^^-i BRICS, LACES A ND EMBR OIDERIES

a small quantity of its threads. Pure silk will instantly
crisp, leaving a pure charcoal ; heavily dyed silk will
smoulder, leaving a yellow greasy ash.

There are two methods of testing silk. If the fila-
ment of the cocoon can be unwound from it as a con-
tinuous thread it is reeled and is called "raw silk."
If for any reason the filament can not be reeled it must
be spun. The raw material before it is spun is called
in commerce "waste silk."

LINEN

That mummies are frequently found wrapped in linen
is sufficient proof of its antiquity. In fact its origin
is so ancient it is unknown. But it is a most useful
and necessary addition to the clothing of mankind. It
is a more cleanly and cool fabric than cotton, for the
latter presents a woolly surface that catches dust and
absorbs moisture.

Linen cloths present a glossy smooth surface that
is as lustrous as satin, and that is as pure, and deli-
cate as it is healthful and pleasant to the touch.

Plain linens of heavier weight are used for shirts,
collars and for bed linen, but the twilled linen includes
the dimity and damasks for the table. There are also
the finest linens which are used for handkerchiefs and
are called lawns and cambrics.

Very few linens are dyed or printed, although they
take colors perfectly and wear beautifully.

In Chapter XXII. further information is given

FA BR I CS, LA CES A ND EM BR 01 DERI ES 255

regarding household linens, accompanied with their
approximate cost and how to keep them in repair.

CLO'J'H

Under the head of cloths used for dress purposes
the range and variety is exceedingly great. Broad-
cloths are considered the most beautiful in quality and
appearance.

Some of the handsomest street dresses are made of
cloth which is as fine and supple as French kid and not
much heavier. The greatest beauty of broadcloth is to
find it soft, not stiff and board-like. The latter quali-
ties some of the most expensive cloths once possessed
and they brought broadcloths as a class into disfavor
with many women, who will not wear stiff heavy gowns
that have no other recommendation than that they
will not wear out. But when the thin fine varieties
were introduced ladies accepted them unanimously
and it is not likely the}^ will ever grow less popular.

Tweeds and camel's-hair cloths also form some of the
most popular dress fabrics. They are made of equally
fine wools often but they are more loosely woven and
show a rougher surface than broadcloth.

There is also another division made in cloths, which
has been designated as worsted cloths. They embrace
the fabrics well known as serges, merinos, delaines,
Russell and Bedford cords, tartans, camelets, repps
and woolen sateens.

The woolen and the worsted cloths differ in the
process of making their respective thread, they are

256 FA BRICS, LA CES AND EMBR OIDERIES

both woven. Felt cloth is made without either spin-
ning or weaving but simply by the mutual adhesion
of the woolen fabrics.

LACE

Italy claims the honor of the first record of lace,
when in 1493 we find in a wardrobe list which belonged
to two high-born sisters, mention of piiiito a gropo
the first knotted lace known. The convents of that
country for a long time manufactured it exclusively,
and the making of lace in Italy has always been more
or less under the patronage of the church. Else where,
ro3'alty had considered it not beneath its consideration
and from time to time, kings, queens and princesses
have encouraged and fostered it with their time and
their money.

Point lace is recognized as the most precious of all
laces, and there are eleven different point laces made.
They are, Venetian Flat Point, Venetian Raised Point,
Venetian Grounded Point, Spanish Flat Point, Spanish
Raised Point, Point de France, Point d'Ale9on, Point
d'Argentan, Brussels Point a I'Aiguille, Brussels Point
Gaze, Brussels Point Gaze Appliqu6.

Of these, the art of making Point I'Argentan is lost
and Brussels point a I'Aiguille has given place to the
more modern point gaze. The point de France is
only produced by a few workers, who endeavor to pro-
duce the old patterns, and the Venetian, Spanish and
point de France are very limited. Consequently there
are but three kinds of point lace in the market. These

FABRICS, LACES AND EMBROIDERIES 257

are point gaze, point d'Alencon and Brussels point
gaze and they rank in value in the order mentioned.
The great rivals of point lace, are the pillow laces.
They are made by twisting into set patterns threads
wound on bobbins. Point laces are made entirely with
the needle. The most important pillow laces are Val-
enciennes, Duchesse, Point de Venice, Point de Flan-
dres, Genoa Point, Point de Medici, Old Brussels
Plait, Plait Applique, Mechlin, Maltese, Cluny, Tor-
chon, Lille, Russian, Honiton, Trolly, Regency Point,
Baby Lace, Breton, Point d'Esprit, Chantilly, Gram-
mont, Blonde, Guipure, Llama, Cashmere and Yak.
Of these laces many remain always in use while very
many more of them come in for a time as very fash-
ionable and then comet-like disappear from use.

There are many beautiful laces made with lace braid
which are sometimes confounded with real point, but
real point laces are all made entirely with the needle.

Machine made lace is an important factor in our
markets as every kind of pillow lace has been imi-
tated by the loom. Indeed they have almost super-
seded the cheaper productions of the pillow, but they
only add to the rarer varieties of all hand made laces.
The machine made lace called Nottingham is made
extensively in the United States.

EMBROIDERY

Embroidery is a very ancient invention. From the

testimony of the old testament, Homer and Josephus,

we find it was of the greatest antiquity. The best
17

258 FABRICS, LA CES AND EMBR OIDERIES

authorities suppose the Phrygians first discovered and
employed colored silk threads and golden wire for
ornamenting their clothing.

The book of Exodus tells of the curtains of the tab-
ernacle and the garments of its priests wrought by
hand m beautiful needlework. Homer describes
Penelope throwing over Ulysses on his departure an
embroidered garment, on which she h^d worked inci-
dents of the chase. In the first ages of the Christian
era embroidery was early carried to the highest degree
of perfection for use in the decoration of the churches.
From that time on it was the boast of royal dames that
they were skilled in handsome embroidery.

The royal Kensington school in England has done
much to revive the interest in the truly artistic embroid-
ery of to-day. America has had the advantages of its
best teachers and her schools are well patronized and
her homes show its beneficient influence to-day.

Egyptian embroideries are often a marked feature
in dress garniture. These embroideries, as given us,
though perfectl}^ in accordance with the true scheme of
Oriental design and workmanship , are, as regards form
and color, planned to meet the requirements of the
prevailing fashion of ladies' wearing apparel.

The Egyptian embroidery is peculiar in character,
and has the appearance of being almost a solid mass
of gold or silver work, graceful designs of a conven-
tional style being traced over cloth until the whole
surface is practically covered with the glittering threads.

FABRICS, LACES AND EMBROIDERIES 259

Only the best quality of metal is used, and, indeed we
are informed that the Cairo firms guarantee the gold as
being untarnishable ; the silver, though of the finest
make procurable, is always more or less susceptible to
atmospheric influence, but under ordinary conditions
will wear well, and the effects produced by its use
upon white, pale cinnamon, mouse grey, and smoke
blue cloth, etc., are so excellent that no doubt, many
ladies will be tempted to run the slight risk incurred.
In the beautiful embroideries produced by Japanese
workmen, it will be found that almost invariably some
one or more masses of closely laid gold thread are
introduced into and become an important feature of the
design, and no other nation has ever excelled the per-
fection with which the craftsmen of Japan manipulate
this material. In the Kimonos and Fukusas, which
afford us such an excellent opportunity of studying
Japanese needlework, the precious metal is practically
ever present, even the painted crape robes, which are
merely touched up here and there by reliefs of embroid-
ery, having a certain portion of their patterns filled
in with gold thread, and Fukusas, the major portion of
the design of which will be in silk, are yet sure to have
a mass of gold introduced.

OSTRICH FEATHERS

The trade in ostrich feathers is almost unprecedent-
ed. For a number of years the demand was so small
that the raising of the ostrich decreased to the
extent of forty per cent; and feather-workers had to

26o FABRICS, LA CES AND EMBR 01 DERI ES

turn their attention to other channels of industry. But
now the demand for skilled labor far exceeds the supply.
A glance at women's toilettes, for the last few years,
is sufficient to explain the unusual demand. Hats are
piled with feathers. Bonnets are edged with bands
and trimmed with clusters of varying sizes, boas and
collarettes of &y^xy length, thickness and color are
shown in all the millinery, dressmaking and and dry
goods houses, and costumes disclose the fact that not
only are cloaks, wraps and jackets trimmed with feath-
ers, but gowns also. Carriage cloaks have huge yokes,
collars and cuffs of feathers, supplemented with wide
bands of the same bordering the front and lower edges.
Frequently they are faced inside, some distance from
the front edge, with ostrich feathers, the fronts be-
ing rolled back. Even in ball dresses the delicate
fabrics are festooned aroimd the foot and fastened to
other parts of the skirt with bunches of tips ; long
plumes are coiled about the upper part of the arm
to take the place of a sleeve, while others garjiish the
corsage.

The garments for little folks also often have their
share of the popular trimming, and faces are almost
hidden under huge felt and beaver flats covered with
plumes and with the feather ruffs. Besides, there are
feather fans by the thousands, and countless pretty
conceits for the decoration of the hair.

Probably more than one-half of the feathers used in
America are imported in the natural state and prepared

FABRICS, LACES AND EMBROIDERIES 261

here. South Africa is the principal breeding place of
the ostrich. Ostrich farms have been started in Aus-
tralia and in San Diego county, California, but the
supply of feathers from these sources sent to the New
York markets is scarcely perceptible. The great dis-
tributing market is London, where auction sales are held
every other month, and are attended by buyers from
all parts of the world. Feathers sell from fifteen dol-
lars to one hundred and fifty dollars a pound, the high-
est price representing "blood primes" — feathers taken
from the wings and tail of the male bird when four or
five years old. The plumage of the female bird is con-
sidered less choice than that of the male. At the pres-
ent time value in all grades are fifty per cent in excess
of those prevailing for several years.

Some past seasons have been so prosperous that many
manufacturers employed between four hundred and five
hundred hands most of the time. A feather manufac-
tory is not a very inviting place, with great vats,
sloppy floors, intense heat and steam, but the work-
is interesting through the heroic measures necessary to
evolve from the feather in its natural state the dainty
thing of beauty. Tn the natural state most of the
feathers are of a dirty gray color, shading to black,
and of all lengths — from three to perhaps twelve or
more inches. The quill is thick, and the flew (the
curly part) straight and lustreless. The darker shades
are sorted for black feathers, and the lighter for those
of colored tints, tied in bunches of about two dozen,

262 FABRICS, LA CES AND EMBROIDERIES

and strung a few inches apart in sections about one
and one-half yard in length. To remove the natural
oil the feathers are soaked for several hours in a strong
solution of soda and soap, and then scrubbed and thor-
oughly rinsed. Those for light colors are bleached
with chemicals before being dyed, but those for black
are only subjected to a triple dip in jet dye. Shaded
feathers are made by enclosing parts in rubber shields
after the solid color has been acquired, and dipping
them in a contrasting dye and combing while wet.
They are dried out of doors and in the sun, if possible,
or in a room where the thermometer registers one
hundred and fifty degrees. After the starching and
another drying, each string of feathers is beaten against
wooden tables, or partitions, to remove superfluous
starch. So violent is this process that one expects to
see the plumes fall apart in a hundred or more pieces.
The only effect, however, of the rough usage is to
make them look clearer and fluffier than ever. At this
point the work, which thus far had been done by men,
is turned over to women, who, in another part of the
factory, begin the more delicate operations. Feathers
of all hues, in different stages of development, are
scattered over long tables. The bunches are separated,
and the quill of each feather is scraped thin by a bit
of glass. Afterward, they are sewed together to form
the various designs, steamedover boilers having numer-
ous spouts, and curled with an implement like the
blade of an ordinary jack-knife. Although apparently

FABRICS, LA CES AND EM BR 01 DERI ES 263

simple, the task requires considerable skill to avoid
breaking the flew. Long plumes, boas, and collarettes
are only slightly curled, the ordinary tip more so,
while those called "Princess," and the narrow bands
for the edges of hats and bonnets, are curled in fine
tight curls. Preparatory to boxing, the tips are bunched
and marked, the longer feathers, boas, etc., having
separate boxes.

WIDTHS OF DRESS FABRICS

Materials for dresses vary so much in width that the
beginner needs especial directions respecting the dimen-
ions of each. Fancy names are, however, given by
drapers to certain fancy goods each season, and in
man}' cases the same fabric is sold under four or five
high-sounding and more or less applicable names.
Special widths, too, in silks, cashmeres, velvets, etc.,
present other difficulties. Yet there are certain time-
honored dress materials, the widths of which are un-
changed from year to year, and as these are also the
most useful and durable materials for dressmaking,
we will confine our attention mostly to them.

Silk, poplin, merino, cashmere, alpaca, velveteen,
muslin, print, serge and vigogne form a sufficient num-
ber of materials to learn to cut out upon.

Nearly all patterns are calculated for dress materials
of twenty-seven inches wide, this being the ordinary
and accepted width for dress fabrics. As a matter of
knowledge, the following table of widths of various
fabrics has been drawn up ; it will, we hope, be useful

264 FABRICS, LA CES AND EMBR OIDERIES

to many, as even when rich fabrics — velvets, for in-
stance— are not required often for dresses, yet small
quantities are often wanted for trimmings, and so we
add this and other rich fabrics to our list.

Table of Fabrics and the Various Widths of Each

Alpaca

Batiste

Beige

Black and Colored Silks

Cashmere

Cloth and Tweed

Crape

Gauze

Grenadine

Merino

Mousseline de Laine

Muslin

Plush

Plush (Seal)

Poplin

Sateen

Satin

Serge ,

Velvet

Velveteen

Vigogne

Woolen Materials (average)

INCHES.

30 36 54

27 30 —

25 28 —

22 26 —

38 54 72

23 42 —

44 — —

26 — —

45 46 —

26 — —

33 — —

16 21 24

54 — —

30 32 —

24 27 30
18 27 —

28 32 —
18 20 24

27 28 —
27 — —
27 44 —

We have not considered fancy materials like broches
pekins, crepe de chine, which are all very narrow, less,
than 27 inches.

CHAPTER XXII
THE HOUSEHOLD LINEN

IN WHAT IT MUST CONSIST — DARNING TABLE- AND BED
LINEN — THE LINEN CLOSET

IN WHAT IT MUST CONSIST

One can not help remarking upon the often meager
collection of linen in households where money is
plenty for other expenditures; and yet exclusive of real
linen, which, as far as bed-linen is concerned, can
easily be dispensed with, a ver}^ fair collection can be
made for sixty dollars and one hundred dollars will
stock a large closet with excellent linens. The house-
wife's mother is to blame for this meager supply.

In this country the majority of the women consider
their daughter's trousseau complete when sufficient
personal apparel has been provided for the exigen-
cies of one or more years. They do not follow the
customs of their grandmothers, or of ever}' Conti-
nental mother, and give the daughter about to take
charge of a new household sufficient linen for every

emergency, With a collection dating from the nucleus

265

266 THE HOUSEHOLD LINEN

provided in a trousseau, and never deviating from the
rule of immediately replacing whatever is drawn from
the reserve stock, the shelves are always moderately
well supplied.

Exclusive of real linen, and more or less elaborately
embroidered sheets and pillow-cases, the amount of
money required to make such a nucleus is not large.
Of course the size of the reserve stock will govern the
cost; and if the collection is but modest, no doubt a
scanty reserve will often have to be drawn upon to
cover the demands made by sickness, or by the pres-
ence of "strangers within the gates;" but this need
deter no one from making a beginning. We here give
a rough estimate of the amount required to purchase a
moderate stock of good quality; for here, as everywhere
else in the household, cheap and coarse material prove
dearer in the end, and are unlovely while they last :
six table-cloths (varied lengths), eighteen dollars ; two
dozen napkins, four dollars ; one dozen tea napkins, one
dollar and a half ; two dozen towels, four dollars and a
half; six honey-comb spreads, six dollars; eighteen
sheets, two and three-quarter yards by two and
one-half, thirteen dollars and a half ; two dozen pair
pillow-slips, three-quarters by three-quarters, seven
dollars ; one dozen dish towels, one dollar and one-half;
one dozen glass towels, one dollar and a half; one-
half dozen bath towels, one dollar and a half; one-half
dozen kitchen hand towels, ninety cents ; four roller

THE HOUSEHOLD LINEN 267

kitchen towels, one dollar and a half — making in all
sixty-one dollars and forty cents.

Of course with the above estimate a household, say
of four persons and a servant will be able to lay aside
only a small reserve stock. On the basis of three beds,
each requiring a honeycomb quilt, two sheets, and
two pillow-cases, six sheets and twelve pairs of
pillow-slips can be reserved ; probably six towels and
two bath towels (for the servant will use the kitchen
hand towels in her room) can also be spared ; while
two table-cloths, a dozen napkins, half a dozen glass
and half a dozen dish towels would make a good
showing on the upper shelf. You think the reserve
stock too insignificant to be called such? We have not
taken into consideration the fact that most households
have already some stock on hand, and in such cases
more of the linens can be added to the reserve ; or if
it be a new household just sprung into existence, and
the family consists of Adam and Eve alone, less linens
are required in use, and the reserve is correspondingly
increased. And granting that the reserve be small,
remember that it can be gradually increased, and an
occasional five-dollar bill, judiciously invested, will
make a respectable addition to a scantily filled shelf.
Perhaps you have noticed that we have made no allow-
ance for seamstresses' charges? We have taken it for
granted that the housewife, for the sake of enlarging
her stock, is willing to save that expense and do the
sewing herself. The saving by this means is quite an

268 THE HOUSEHOLD LINEN

item ; though the seamstress ma}' charge only a few
cents for hemming a napkin or a table-cloth, }'et when
the pieces number dozens the bill counts up rapidl3^

DARNING TABLE AND BED LINEN

Chapters VII and VIII give full directions for hem-
ming and marking linen and there is no daintier or more
pleasant work for a woman than this. Articles of wear-
ing apparel are best repaired by neat patching, but bed
and table linen ought to be carefully darned. When
it has been in use for some time, it should be fre-
quently examined, and the thin places strengthened to
prevent their becoming holes. It often happens that
sheets and pillow-cases are either torn at the wash or
by being caught on hedges or bushes in taking them
in after drying, and table cloths are sometimes cut by
the thoughtless use of knives at meals. It is, of course,
desirable that such injuries should be so skilfully
mended as to make them as little observable as possi-
ble.

A very simple way to mend a hole is by a darn. It
should extend for at least an inch beyond the hole on all
sides, and the loops everywhere must be of the same size.
It ought not to be made square, because it is much
stronger if the edges be either irregular or wavy. A
diamond is a good shape to form. Of course small
holes only are mended in this way, larger ones should
be patched.

First carefully cut away the rags from the edges of
the hole and beginning at the left hand side, thickly

THE HOUSEHOLD LINEN 269

darn across it, drawing the needle out gently each
time to avoid pulling up the threads of the material.
Changing the position of the work, so that what was
before the bottom of the darn is now the left side,
cross it, and thus fill the hole with a thick lattice of
threads, which closely correspond with those of the
surrounding fabric.

To darn a three-cornered or hedge tear is rather a te-
dious thing to do, but careful!}' tack upon a card, at the
distance of an inch on all sides of the tear and with some
sewing cotton gently draw the edges as nearly as pos-
sible into their original position. Then darn backwards
and forwards from left to right, about double the length
and width of the rent, taking pains to keep the broken
threads flat under the cotton during the whole time.
Then turn the work round as before, and repeat the
process in the opposite direction. When complete,
the tear will form two sides of a square of crossed
darning. Then remove it from the card. If properly
done, this darn is sccarcely noticeable,

THE LINEN CLOSET

The ideal linen closet we have in mind was built
into a niche in the bedroom wall, and its identity was
concealed by a mirror set into the door ; only the small
circle of brass betraying the Yale lock led one to sup
pose the mirror was other than a toilette accessor)\
Unlocked and swung open, one could see behind it
the closet, whose floor dimensions were about two feet
and a half by one foot and a half, and whose height

270 " THE HOUSEHOLD LINEN

equalled that of the room. It was shelved in regular
spaces from top to bottom, and completely filled with
snowy linen. There were in all seven shelves, and
these were covered with ordinary bed-ticking, held in
place by carpet tacks, under the edges of which were
twice a year strewn Persian insect powder to prevent
any entrance of vermin ; above this, so as to exclude
possible dampness were laid strips of white glazed
cloth. Two-inch cotton lace, which by hanging down
conceals the wooden shelf, may be basted along the
front edge of the ticking, and if washed twice a year
always looks fresh and white ; this is inexpensive, and
makes a pretty finish to the shelf. On the two upper
shelves were kept "reserve" stock; /. e., such table and
household linens as are not yet taken into use.

Guarding either end of the top shelf was a pile of
neatly folded sheets, and between them two piles of
pillow-cases. The heavily folded edges only appeared
in front, and all loose ones were turned toward the
back.

And this reminds us that whoever would possess a
neat linen closet must see that all pieces are uniformly
ironed, that the sheets when folded will be of the same
length and width, the pillow-cases alwaj^s folded alike,
and all edges turned inward.

The sheets numbered six to each pile, and the pillow-
slips six pairs ; this nearly equalized the height, and
each set was separately bound together by a bright
ribbon. Where the narrow ribbon ends met in a small

THE HOUSEHOLD LINEN i^i

bow a label was hung descriptive of the articles behind
it. This label, consisted simply of a piece of white
muslin, stiffly starched, and edged all around with nar-
row Italian lace ; it was oblong, and measured perhaps
seven inches in length by two and a half in height.
Plain cross-stitch letters worked with red marking
cotton formed the necessary names of each; as "Linen
Sheets," "Muslin Pillows," "Quilts," "Dish Towels,"
etc. Reading the labels, we saw that the sheets and
pillow-slips on the right were linen, and those on the
left were muslin. On the second shelf were table-
cloths of different lengths, napkins and towels.

Here, as on the first shelf, the bright ribbons and
dainty labels performed their pretty duties. The third
shelf was heavily laden with Marseilles and honey-
comb quilts, vying in snowy purity with the glistening
damask above them. The fourth shelf contained in neat
arra}^, the sheets and pillow-cases, some plain and some
embroidered, which were in daily use, the descriptive
label pinned to the uppermost piece of each of the
four piles. On the fifth shelf lay towels, bathing
towels, sheets, and pillow slips for cribs and single
beds. The sixth contained towels and bed linen for
servants' use, together with the colored table-linen.
On the seventh shelf, ordered as perfectly as their
superiors in rank, lay dish towels, glass towels, cheese-
cloth dusters, Avindow rags.

When your linen closet is well stocked and in order,
allow no one, not even the best of servants, access to

272 THE HOUSEHOLD LINEN

it ; when the week's wash comes upstairs, put j'our
linen awa}^ with 3'our own hands, the fresh pieces at
the top of each pile to which they belong, and when
others are required for the regular changes, take those
that are at the bottom. In this way all reach the wash
in rotation, and none grow yellow from being too long
unused.

CHAPTER XXIII
LAWS OF CORRECT DRESS

CONSIDERED FROM THE POINT OF ECONOJiIY CONSIDERED

FROM THE POINT OF BEAUTY — DRESS FOR SLENDER WOMEN

DRESS FOR STOUT WOMEN — INDIVIDUALITY IN DRESS —

DRESS FOR RED HAIR — DRESS FOR BLONDE HAIR — DRESS

FOR BROWN HAIR — DRESS FOR BLACK HAIR DRESS FOR

GRAY HAIR JEWELS GENERAL REMARKS

CONSIDERED FROM THE POINT OF ECONOMY

One's garments should be selected with a due regard
for the eternal fitness of things, and common sense
should govern the device of our wardrobe, and in fact
it should be the watch-word in all matters which per-
tain to health and grace which should go hand in hand,
and not be divorced as they often are by the origina-
tors of pernicious fashions.

A woman may dress well without being extravagant,
if she will employ forethought in her buying. She
who purchases materials for her summer gowns in the
fall of the preceding year, or who provides for her
winter outfit in the spring, is able to secure her cos-

i8 273

274 ^^ ^^^5* OF CORRECT DRESS

tumes much more reasonably than if she buys every-
thing in its season. When she follows this plan, how-
ever, she must select goods of quiet color and unobtru-
sive design, avoiding striking patterns or peculiar col-
ors that are likely to become passe before they are
made into dresses. Indeed, it is wise for the woman
who will probably have to make her dresses do service
for more than one season, to choose tints and fabrics
for qualities that will wear.

A mistake frequently made by women who are am-
bitious to dress well and who have small means with
which to accomplish it, is that of endeavoring to
imitate rich costumes in inexpensive materials. A
cheap velvet or plush or a flimsy silk is as poor an
investment as one can make. A good tricot, cashmere,
or serge that does not pretend to be anything remark-
able looks better than the more pretentious fabrics.
Consistency in dress is always admirable. The attempt
to dress beyond one's means is not only wrong, but
absurd.

To-day is the harvest time of the home dressmaker.
All the expensive novelties in dress material and deco-
ration are reduced to prices approximating their actual
cost and compatible with the possibilities of a moder-
ate allowance. The fortunate woman with happy in-
tuitions and inspirations in designing, and with clever
skill in materializing her designs, can revel now in
a wardrobe that would dazzle the Queen of Sheba
more than Solomon's glory, and all at comparatively

LAIJ'S OF CORRECT DRESS 275

small expense. Not that the unprofessional dressmaker
shall attempt the swell street gown with its sweeping
skirt and mysterious bodice, seamless and faultless with
hidden fastenings and pompous sleeves, any more than
a school girl might essay an epic poem, or a baby copy
a Corot with a slate and pencil. The style, the fit,
above all the indescribable something about the perfect
street dress that we call "the air," in lieu of something
more expressive, are, and must of necessity be, the
work of the professional artist endowed from the Cre-
ator with genius, and this genius sanctified, developed,
and made perfect in long service. But the dainty house
dress, the fascinating little house bodice of soft bright
silk, the attractive evening toilet, all manner of luxuri-
ous tea gowns, and those extremely pretty simple dress-
es which are now worn, not only at the "tea" but all
through the evening, unless the dinner be formal, all
these the amateur modiste may make with no appre-
hension. Their success depends upon their coloring,
decoration, and material, and the leading motive in
them all is simplicity — simplicity idealized to elegance
by the use of rich material and rare ornamentation.

An economist who must make a little mone}' do a
great deal should choose plain w^oolens instead of those
with figures, stripes, or bars, or the bordered pattern
dresses that attract attention by their showy designs,
and she should find the best and newest shades of the
colors that are most becoming to her, or that will

276 LA JVS OF CORRECT DRESS

combine well with a color that has hitherto proved
satisfactory.

High colors, prominent stripes or figures are less
genteel as well as less sensible than plain materials in
quiet colors and exquisite quality. Brown in all its
shades has been popularized in America as well as
London, by the Princess of Wales, whose exquisite
taste has realized its possibilities in her own beautiful
toilets in this, her favorite color. Tan in countless
tints and combinations with brown or green is much
used, blue is well worn, gray is affected by the few to
whom it is becoming, and a peculiar dull shade of
green in combination with black is most striking of
them all.

A woman, whatever be "that state of life to which it
has pleased God to call her," will find life a little bet-
ter worth living if she provide herself first of all, not
with a lot of gorgeousness hustled together b}^ a cheap
dressmaker into a shoddy imitation of a rich reception
or theatre gown, but a simple cheviot or serge simply
made. The sham skirt is cut and fitted carefully, and the
drapery or outer skirt, plainly hemmed, has a full back,
laid in fan-like pleats, and a straight, scant, seamless
front laid up in two or three circular folds about the
hips if the wearer is slight, or simply pleated length-
wise or gored away at the top to fit plainly if she is
stout. This skirt may or may not be hooked up on
the bodice. If it is hooked up on the bodice it
should be plain and severe, and made either single

LA WS OF CORRECT DRESS 277

or double breasted. Marketing or shopping,, tlie
housewife is well dressed in the snug little gown that
defies wind and weather, and the business woman is
never so well, so comfortably, and so appropriately-
gowned, whether she write or teach, heal the natives,
or sell ribbons and bonbons, as in this exquisitely neat,
serviceable dress. The next most important gown to
the well-dressed woman in winter is a cloth handsomely
made, as faultlessly fitted, as rich in material and
decoration as her means will allow. All sorts of teas,
receptions, matinees, even the theatre itself, every-
thing except the solemn functions of a ceremonious
dinner, a ball, or the opera, call for handsome cloth
gowns. There are no limits to the gorgeousness involved
in its decoration. Rich braidings and stitchings,
splendid cloth-of-gold waistcoats and gauntlets, and
costly fur bands and jet passementeries are considered
quite the suitable accompaniment of cloth gowns. The
sensible and economical woman avoids high-priced and
conspicuous novelties in cloth, which are sure to look
passed after a season.

A dress that is entirely suitable to the occasion will
last much longer before it looks old-fashioned than if
it be worn at times and places for which it was not
originall}' designed, and though more gowns may be
required at the outset, they will last much longer and
look much fresher to the end than if they were worn
in season and out of season. Of course, when very
strict economy is necessary, a woman who has the

278 ZAIFS OF CORRECT DRESS

instinct of dress will so arrange that almost every govv^n
shall be "contrived a double debt to pay," and chosen
so as to be suitable whenever it is worn. If she can
only afford one evening dress she will choose it with
reference to balls, dinners, and "at homes, _^ and her
visiting gown will be neither too gorgeous nor too
plain ; while in bonnets and hats she will, above
all things, show her wit, and, to quote the old poem
once more, prove "For every season she has dressing
fit ; for winter, spring, and summer. "

The fashion of buying all things ready-made has
been a blessing in many ways, but it has deprived
women of the necessity of thinking out their clothes for
themselves, and investing them with some degree of
their own personalities. The "esthetic set" were right
when they set their faces against this custom, and
declared that every woman's dress should be an expres-
sion of herself; but the mania for full bodices and
skimpy skirts, huge hats and little handkerchiefs
defeated its object, for all the maidens and matrons of
the esoteric coterie were arrayed in the same fashion,
so that, while the individualit}' of their set was asserted
energetically by their attire, their own personal entity
was more disguised thereby than it would have been
by the most French and elaborate of ready-made cos-
tumes. A woman who has the instinct of dress, shows
it when she buys a gown "off a peg" just as much as
when she plans and arranges every detail of a costume
after her own fancy. That a frock is pretty or quaint

LA WS OF CORRECT DRESS 279

or fashionable is no reason that she should purchase
it; her test of it is, "does it look like me?" and though
she may somtimes take a new departure, some new
freak of fashion, which is unlike anything she has
worn, but that yet approves itself to her as likely to
suit her, she has the wit to know whether it will really
mold itself to her. A well-dressed woman always wills
that her clothes shall be part of her, and utterly scorns
the idea of being merely a dummy for the display of
a Mr. Worth's last creation.

CONSIDERED FROM THE POINT OF BEAUTY

When one of "Ouida's" miraculous great ladies, who
trail old laces on their balayeuses and quote polyglot
scraps about most things under Heaven, says that,
even if she were poor and reduced to wearing dimity
and serge, she would still have her garments fashioned
so that Giorgione or Gainsborough might delight in
her, she speaks what sounds, and is good sense ; and
yet there are many reasons which prevent women with
slender purses from following out her idea. Even
when they have a taste so perfect that, given money
and time, they might eclipse most women in the grace
and harmony and richness of their raiment, the "res
angustadomi" means being careful and cumbered over
many things. If a woman works for a living she is
likely, at the present rate of pressure and stuggle, to
be too weary to pay more than a fitful and careless
attention to dress ; and the careful consideration of
harmony and of suitableness of one garment to another

28o LA WS OF CORRECT DRESS

is often pressed out of her mind by matters of more
importance. Perhaps it ought to not to be so, but it
is. The small refinements and thoughtfulnesses of
dress which give it, as it were, its grace and wit, maybe
cost little money, but much thought and care ; and so
a woman who is keenly sensitive to beauty of raiment
often shows little sign of the instinct, and is dreary,
even if neat, in her attire ; she has so many other
things of which to think that dress gets "crowded
out."

And yet it is a pity ; for to most women dress is a
pleasure, and a right one : and when the feminine
instinct is crushed or lacking in a woman, so that she
does not care Itow she looks, it shows a want in her
nature. We are not speaking of slovenly women —
they are rightly an abomination in all eyes — but of the
women who, from economy or carelessness, or want of
time or taste, or from religious opinion, may be and
most likely are neat, painfully neat, but whose gowns
are dreary, dull, unfitted to the wearer, or possessed
of no individuality whatever.

DRESS FOR SLENDER WOMEN

Few figures are considered perfect enough to be
displayed in a plain untrimmed waist. The bust may
be pretty, but if the chest is hollow, if the lines
about the arm are flat, if the shoulder-bones are prom-
inent, some fulness or drapery will be needed to cover
these defects. If the model is spare and bony, shingle-
breasted and slab-sided, then trimmings must be resorted

LAWS OF CORRECT DRESS ' 281

to, while on the other hand, a case of middle-age
stoutness, while requiring trimming, will need an
entirely different arrangement. A thin woman can be
plumped up with folds variously shown in artistic drap-
ery, surplice fronts and full effects. Lace, pleated
or gathered chiffon, is also filling and a yoke-vest or
bretelle made of fur, jetted or jewelled net, flowered
silk, velvet, plush or chinchilla, will round out a thin,
spare figure. Another trick of making slimness look
plump is in the use of ribbon, braid or guipure, sewed
in rows round the neck and collar or round the waist,
from the corsage to the belt. To complete the descrip-
tion, stitch the cuffs round also and increase the width
b}' having the sleeves puffed at and below the shoulder.
Suppose the woman we consider is slender and fair
and young, for it is she who wears best the simple,
pert gowns of her own manufacture. The middle-aged
woman must aim for stylish and rich effects, the elderly
woman must clothe age in elegance ; the smart young
woman and the slight, fresh girl require only pretty col-
ors, dainty materials, and simplicity. But this prett}^
woman will be as fair to the man who loves her as was
the woman to whom Paris gave the golden apple, if
she pours his coffee in the morning in a simple little
waist made of a bit of pale, blue cashmere, a remnant
of China silk, or perhaps the best of an old drapery of
challie left of last summer's wardrobe. The main
point will be to have the materials very soft, with the
waist fulled on the shoulders and about the neck. Again

282 LA WS OF CORRECT DRESS

this particular bodice may have a history. It may have
been the remnant of an ecru surah gown that had
done duty on many occasions before it was pieced out
into this little morning waist which will convince one
simple man that he has the prettiest wife in the state.
But the dainty grace and becomingness of the bodice
may consist in the broad, full frill of pale yellow chiffon
that falls back softly from the open throat and the nar-
row belt of dark brown velvet which accentuates the
slenderness of the willowy waist.

DRESS FOR STOUT WOMEN

A stout woman can not wear well any of the fantas-
tic seamless bodices, but should retain each seam decid-
edly, with an extra side-form under the arm, if the
waist measures more than twenty-six inches. Neither
should the stout woman attempt long coats, or cir-
cular trimming for the skirt, unless it be the narrow-
est band of a darker color than the dress extending
about the extreme edge of the skirt.

No stout woman can afford to wear horizontal trim-
ming or figured goods. All lines should run down. If
she selects a fancy braid, narrow ribbon velvet orgaloon,
let the design start at the neck or shoulder and extend
down, graduating it to a point at the bottom of the belt.
Strips of ribbon running from the under-arm to the
front or back seam will tend to slope off the hips. Hip
trimming of every sort must be avoided, but a pleating
in the back or a narrow bow with long streamers will
break the line where the waist and skirt meet. Long

LA JVS OF CORRECT DRESS 283

basques, sharply pointed back and front, should be
selected by stout women at all seasons regardless of
the changes of fashion. High collars and high puffed
sleeves, which have a tendency to swallow up short
thick necks should be left to the slim women, who,
like the famous Annie Laurie, have swan-like throats.
By making the sleeve easy, though not tight, and
having it come well down over the hand, using verti-
cal rows of braid, not too close together, in place of
a cuff you narrow the arm b}^ lengthening it. Fleshy
women can greatly reduce their size by wearing narrow-
striped goods or any plain cloth in dark colors, not
necessarily black. Figured and flowered patterns
unless very, very small should be let entirely alone.

Short jackets should never be worn by stout women,
long close-fitted coats are their most becoming wrap.
Shawls are essentially the most feminine of wraps, but
women who have not sufficient height and a graceful
carriage should never attempt to wear them.

A woman with a large face should never wear a very
small bonnet, and if it is too short avoid trimmings on
the sides of a hat or bonnet as that tends to widen the
outlines. Place the ornamentation on top in close
upright lines.

Stout women often have short, too plump feet, in
which case, all ornamentation of bows or rosettes of
ribbon on shoes or slippers should be avoided. They
only make the foot more shapeless. They should never
wear colored shoes and it is very graceless to accept

284 ZAJVS OF CORRECT DRESS

shoes too tight for the foot. For a very fat foot, the
wearing of the size too long really adds, often, to the
beauty of its outlines.

INDIVIDUALITY IN DRESS

There are some women who look loveliest in a riding
habit, or cotton frock, or sailor's shirt; but with these,
advancing years make it a more difficult task to dress
suitably, and they are apt to drift into the short liair,
wideawake hat, and pea-jacket style of attire ; whereas
the women whom dainty and delicate prettiness suited
in girlhood, take easily to more dignified and richer, if
more sober, attire, as their youth turns into fuller
maturity. And there is a beauty which demands a
simplicity and severity of sentiment which any hint of
coquetry or consciousness in dress seems to degrade
or belittle, as a masquerade habit might do, and which
is usually framed best in black or white, which enhances
the austere purity of look and feature. It is impossi-
ble to think of Shakespeare's Isabel as she was after
the play ended, Duchess of Vienna in rabato and far-
thingale, brocade and jewels ; the habit of a votaress
of St. Clare seems the only fitting garb for that "thing
enskied, ensainted," and aught else is as unfitting as
a nun's or widow's garb would be to Congreve's bril-
liant Millamant. As Dorothea says in "Middlemarch,"
"Souls have complexions, too."

And the recognition of this fact is a leading part of
the instinct of dress with women. The Vicar of Wake-
field^ when he tells us that a suit of mourning lias

LA WS OF CORRECT DRESS 285

transformed his coquette into a prude, and a new set of
ribbons has given her younger sister more than ordin-
ary vivacity, touches this neatly as he does the femi-
nine adaptation of character to attire, when attire does
not chance to suit the character, which may be studied
at will at any fancy ball. How far a dress may aid
in expression of personality, every actress knows, and
a part that is well dressed seems half-way — at the
entrance— to being well played. But to be well dressed
on the stage by no means signifies being splendid,
like Dinah in the ballad of the ill fated Villikins, "in
gorgeous array," any more than it does in real life,
and the overdressing prevalent among actresses at the
present time is a crying sin against art, and one to
which an actress worthy the name will not yield.

Balzac makes an odd classification of colors as indices
of character. "Women that wear black habitually are
to be avoided," he says, "because they are suspicious,
bad tempered, and jealous. Those who wear yellow
and green are over quarrelsome, and those who affect
white are coquettes. The gentle, thoughtful, pussy-
cat sort of women like to clothe themselves in pink.
Pearl gray is worn by women who think the world
doesn't do the right thing by them, and lilac is chosen
by beauties who have passed their prime."

DRESS FOR RED HAIR

It is difficult to class women with red hair into one
division, as the shades of hair vary and the eyes
accompanying it must be taken into consideration.

286 LA JVS OF CORRECT DRESS

When blue ej^es accompany red hair, colors must be
worn that will neutralize the blue in the eyes, so as not
to intensify the contrast between the eyes and hair.
Consequently all blues must be avoided in such a case.
Pale green, lavender and blueish purples must also be
tabooed. Red haired people should never wear scarlet
or other bright, decided reds, and the many shades of
pink, both the rose and the violet pinks should be
avoided. But at the same time they may wear claret
color and dark rich maroons, as well as real plum color
and its modification, amethyst. Green is one of the
best colors for red haired women. As we have said
before, not light green but dark invisible green, bot-
tle-green, rich blue-green, olive-green and the many
beautiful gray greens that our markets afford.

Red hair, accompanied by dark gray eyes tending to
brown, never looks better than when clothed in dark
amber and browns tending to yellow, and for evening
wear, such women may choose creamy white, pale
amber and real gold color.

When the owner of red hair is also fortunate enough
to possess brown eyes, she may wear all the colors sug-
gested for other eyes and add to them black which will
be found becoming by day or gas-light.

DRESS FOR BLONDE HAIR

There are two t3^pes of blondes, differing not a little
in many respects. The golden blonde haired woman
with blue, green or brown eyes is much rarer than the
blonde with light brown hair showing drab tints. These

LA JVS OF CORRECT DRESS 287

different types should dress as diverselj^ as would black-
haired and blonde haired women.

The golden haired blonde with blue eyes and the
white transparent skin is delightful in delicate refined
colors. She can but never should wear red or the yel-
lows and the yellow browns.

She ma}^ wear black and dark green but for the most
part she should choose heliotrope, purples, lavender,
lilac, grays, pale green, blue white and pale violet
tinted pinks. These tints belong peculiarly to her, as
no other type can adopt them half so well and, for
this reason, they possess a peculiar elegance.

The golden blonde with green or gray eyes should
be delicate and evasive. She also should avoid all
reds and yellowish browns, but she must as well
discard purple, blue white, lavender and blue greens.
Her best colors are cream and transpaient whites, all
yellow and olive greens, all gray blues and blue grays,
the turquoise and peacock blues and she may wear
black not made up too heavily, or heliotrope and mauve.

The golden blondes, with the rich full blood and the
dark brown or hazel eyes, are among the rare and radi-
ant women who may affect the gorgeous and almost
barbaric in colorings. However, they must just as
surely put away the leading tints and colors so delight-
ful when worn by the preceding types. The lavenders
and lilacs and blueish grays, the mauves and pale cool
greens do not belong to them at all. They would be
most uneffective in either.

288 LA WS OF CORRECT DRESS

But they may don warm, flaming reds, rich yellows
and red browns. The long list of turquoise blue,
amber, cream white, purple, violet, fawn color, warm
grays and greens are all theirs by right of always looking
at their best in them.

The fair haired blondes are the onl}^ variety that
retain their blondeness with the passing years. They
generally remain the same even when the years usually
crowned by gray hair come, but the golden hair grows
darker gradually up to thirty when it is difficult to
distinguish its tawny brown locks from those of
decided brunettes.

Gradual changes in colors must consequently be
made, leading to those adapted to darker haired women.
This is a type of woman among the most admired, the
golden tint retained b}' the brown shade is generally
accompanied by an ardent, strong and vital constitu-
tion, fine full e5^es and strong white teeth, as well as
a clear warm unblemished complexion.

DRESS FOR BROWN HAIR

The brown haired woman with warm brown com-
plexion and brown e}^es has a rival worthy of her, in her
sister who while still brown haired has steel-gray eyes
and a fair skin which generally shows considerable
color when animated or enthxised.

The first type may revel in all the rich, gorgeous
reds and blues of color. She may wear amber and
all the yellows, in brown and maroon but the pinks of
delicate tones and all pale cold blues, greens and grays

LA WS OF CORRECT DRESS 289

do not belong to her. If she wishes to dress quietly
she may don browns (never black) and tans, but she
will never look inelegant in the strongest contrasts of
reds and yellows because they harmonize with her own
warm tints.

There is a rare type in this class in whose dark
brown hair artists find purplish shadows ; she is accom-
panied by a creamy white skin and she may wear rose
pink and black.

The chestnut haired woman with blue eyes may
wear almost any color she fancies, if she avoids too
pale greens and mauves. Pink will be found especially
becoming and the deep true blues are her own property.
Where with this hair the eyes are green or gray the
colors must be chosen less at random. She must not
wear dull spiritless colors nor too yellowish browns
or greens.

DRESS FOR BLACK HAIR

True black hair with black eye is seldom encountered.
However, when met with it is very beautiful generally,
and is accompanied by a clear, pale complexion that
looks well with most colors of wearing apparel. Where
the complexion shows considerable color, warm grays
with touches of red, as linings or tracings of ornamen-
tation and finishing, are alwa3's becoming and black silk
and velvet with white lace, dull gold oranaments or
dull invisible reds are among their most effective col-
ors.

One of the most beautiful types of woman is that
19

290 LA IVS OF CORRECT DRESS

where real blue eyes are found with black hair. She
should omit yellows and reds from her catalogue of
colors, but may wear blues, pinks, white, purples and
black. She is the woman above all others who should
be given diamonds and who may wear any quantity of
them without appearing vulgar, especially if she be tall
and slender.

DRESS FOR GRAY HAIR

There are many types of gray haired women, but
there are two general classes under which they ma}^ be
considered. They are the class of prematurely gray
young women and those whose hair is quite legitimate
and indicates an honorable old age.

For the latter class there is nothing more becoming
than black with ornamentations of either black or
white laces. Real white hair is usually accompanied
by black, dark brown, or dark gray eyes, as the blue
eyed women grow gray very slowly. Consequently the
colors we would suggest must be becoming to dark
rather than light eyes.

We would suggest dark greens in both olive and blue
varieties, dark rich blues and purples, as well as very
dark reds. There is a brown appoaching a fawn color
that may be worn, but as a rule browns are not becom-
ing to those with gray hair.

The chief color that all gray haired women should
absolutely avoid is gray. It can never be worn with
a pleasing result by them. Neither can pale lilacs and
greens or pale, evasive blues, be adopted with any

LAWS OF CORRECT DRESS 291

propriety. Creamy whites can sometimes be worn, as
can white muslins and lawns in the Summer time.

JEWELS

Jewels are a legitimate adjunct to woman's dress.
They should not be worn in an obtrusive manner, but
they should be selected with design and with reference
to the remainder of the dress. They should not be
worn in a way to give the least sense of overloading,
nor is there any good effect obtained by the use of a
number of comparatively inexpensive ornaments.

Sapphires, pearls, moonstones, mosaics and chalce-
dony are the jewels the very fair, blue-eyed blondes
should wear.

Black haired women may wear gold ornaments and
diamonds and another brunette looks best in creamv
pearls. There are brown haired women who will find
amethysts, amber, topaz, rubies and garnets their most
becoming ornaments. The golden haired blonde's
ornaments are first pearls, after which, if she is not
superstitious, opals, then topaz, amethysts, turquoise,
amber, and the lapis-lazuli.

Gray haired women should limit their jewels to dia-
monds and turquoise in settings where but little gold
shows-

GENERAL REMARKS

Solid and plain colors have a greater richness than
mixed shades. If combined tints are used, they should
only be such as harmonize well, and in the full-length
figure give a good personal effect. Probably more

292 LA \VS OF CORRECT DRESS

ladies err in getting good general effects than in an}^
other one particular. They have various garments,
pretty enough, possibly, in themselves, 5^et which do
not harmonize well together, either in material, color
or cut, or possibly with their particular style of figure
and shade of hair and complexion. For example, the
skirt will have one style of trimming, the waist another,
the bonnet may look exceedingly well with one suit,
and be quite out of keeping with another. A short
dumpy person will wear flounces, a tall slim one stripes,
while some red-haired woman will fanc}' an exquisite
shade of pink, when green or brov/n would have been
much more becoming.

No woman should make herself conspicious by wear-
ing such articles of dress as are laughed at, possibly,
certainly not worn by any other persons in the city or
country in which she may belong. Manufacturers,
dry goods dealers, milliners, and dressmakers, try
to carry the day with a high hand. Yet there is alwa)'s
some choice, and as, thanks to our civilized habits, a
full-length mirror is obtainable by most ladies, given
the resolution to make the most and best of themselves,
the greater number of women can so study the art of
dressing well, as to produce some excellent results.

First of all, the woman who would be a successful
dressmaker must cultivate her powers of observation
in every way possible. She should be above all an
observer of dress.

She should strive to take in at a single glance and

LA WS OF CORRECT DRESS 293

to remember accurately every feature of every costume
she sees. The dress of every woman she meets should
be to her a study of things to imitate or things to
avoid, just as little Jennie Wren, the doll's dressmaker
in Dickens' novel of "Our Mutual Friend," makes all
the great ladies of London unconsciously "try on" for
her.

The theatre is a very good school for a modiste.
Women of the stage usually have excellent ideas of
dress, and not a few of our best toilet suggestions have
been derived from them. An innate talent — it is not
going too far to call it genius — for dress seems to be
born, to a greater or less extent, in every French
woman, and it finds its culmination in the French
actress. But it is not alone for origination of new and
beautiful ideas that credit in the matter of dress is
due to the women of the stage. To their good sense
and personal independence we owe the reformation and
final extinction of many foolish fashions. The quiet
dressmaker then, will do well to visit the theatre often.

Every woman can modify, and arrange, and simplify,
and that without becoming eitlier ultra or conspicuous.
It will take time. That cannot be helped, yet possi-
bly the saving in comfort and expense may fully com-
pensate for the few hours spent in studying her own
dress with the mirror before her and with the deter-
mination to make the very best and most of herself.

It is best to make your own individual style gov-
ern your dress, although more frequently the style of

294 LA WS OF CORRECT DRESS

dress influences the manners and actions of the woman.

When a woman dresses in a mannish fashion, with
ulster or with jacket having convenient pockets, she
is very apt to put her hands in her pockets and to tip
her stiff Derby or sailor hat a trifle to one side.

But when she is most interested in esthetic loose
flowing dresses, with full lanky sleeves and trailing
"yellery" skirts, her eyes and the poise of her head
take on the languid, languishing roll and curve.

But these eccentricities are only momentary ; they
pass with a breath, and general rules of neatness,
freshness and suitableness are the only ones leaving
lasting influences on the mind and character.

If we learn to seek beauty in these higher forms we
can not but find our characters, or general individu-
ality uplifted and improved by what we wean

Let no one rob us of the beauty of dress, but let us
seek it in the highest form. Some people have many
possibilities of form and color, but most people must
study and develop them by special treatment.

A little woman who is small and without marked
beauty of either face or form will look charmingly neat
and fresh in light, cheap woolens and muslins while
had she been rich and donned heavy dark velvets
and satins she would always have appeared a tired,
faded woman of little attractiveness.

CHAPTER XXIV
THE ETIQUETTE OF DRESS

INCONGRUITIES CORRECT DRESS FOR THE MORNING COR-
RECT DRESS FOR TEAS, MATINEES AND AFTERNOON RECEP-
TIONS CORRECT DRESS FOR DINNERS CORRECT DRESS

FOR LAWN PARTIES CORRECT DRESS FOR DRIVING AND

COACHING CORRECT DRESS FOR WEDDINGS AND WED-
DING ANNIVERSARIES CORRECT DRESS FOR DANCING PAR-
TIES CORRECT DRESS FOR MOURNING — CORRECT DRESS

FOR SERVANTS

INCONGRUITIES

Some women are said to have a genius for dress.

That a certain woman knows just what to wear for

every occasion, does not, we think, so much indicate

that she possesses this knowledge through a special fac-

ult}' as that she is experienced in society. Unless a

woman has attended a fashionable dinner or two, how

can she know what other women generally wear? The

same is equally true of other entertainments,. There

are certain arbitrary rules governing society with which

only the initiated can be familiar. To be sure natural

295

296 THE ETIQUETTE OF DRESS

modesty and consideration for others may be possesed,
and that goes far toward introducing oneself pleasantly
and appropriately.

We can not know what to wear without experience,
but an appreciation of the fitness of things and good
taste in colors may be instantaneous to some while not
to others. Some women have a moral lack of taste
and wear startling colors and look as though their
clothes had been hurled at them by a heavy wind,
while others will look as if their clothes were a part of
themselves or at least had grown on them.

However, a little attention to the study of costuming,
together with as much study of herself before a full
length mirror will teach a woman to avoid criminal
acts in dress. We owe this study as a duty to our-
selves, certainly, but there is also a debt we owe soci-
ety, to dress well or at least inoffensivel}-. We can
not depend upon those who make our hats, cloaks and
dresses for us ; we must work it out for ourselves.

Avoid conspicuous dress. Individuality in dress
can not be too highly recommended, but never seek
to gain a kind of reputation by the odd choice of attire
or b}^ seizing upon the first caprices of fashion. Never
go upon the street in a dress suited only for the ball-
room. It is ridiculous to trail silks, velvets and laces
in mud or dust. Preserve a general harmony in your
costume. Don't wear diamonds and an expensive new
hat with a worn, frayed street suit. Suppose 3'ou are
invited to a quiet evening at a game of cards. Do not

THE ETIQUETTE OF DRESS 297

patch together some old silk and brocade in a careless
iashion ; rather wear one of your perfectly made cloth
visiting costumes.

CORRECT DRESS FOR THE MORNING

Propriety requires that a woman should be dressed
in a cleanly, and becoming manner in the morning.
If she has to cook her own and other's breakfasts, she
should provide herself with clean, washable dresses
which she can slip on hurriedly but which at the same
time will look complete.

If she is a tardy riser for only breakfast itself, she
should do the same, and the best plan always is to
leave the bed in ample time to wash and dress prop-
erly for the entire morning. Otherwise neglect to
take off this morning dress as soon as possible, is to
expose one's self to embarrassments often very pain-
ful and to the appearance of a want of cultivation.
Moreover, it is well to impose upon yourself a tule to
be dressed at some particular hour (the earliest possi-
ble), since occupations will often present themselves
to hinder your re-dressing for the day. Disorder of
the toilet can only be excused when it occurs rarel)%
or for a short time, — as in such cases it seems evidently
owing to a temporary embarrassment ; but if it occurs
daily, or constantly — if it seems the result of negli-
gence and slovenliness — it is unpardonable, particu-
larly in ladies, whose dress seems less designed for
clothing than ornament.

To suppose that great heat of weather will authorize

298 THE ETIQUETTE OF DRESS

disorder of the toilet, and will permit you to go in
slippers, or with your legs and arms bare, or to take
nonchalant or improper attitudes, is an error of women
with but little selfrespect and no regard for their friends
who must remain in their company. Cold and rainy
weather can not be made excuse for similar liberties.

Above all other things never go upon the street, no
matter how quiet and retired it may be in a neglige
toilet, albeit it may be an elegant one. Morning calls
upon even intimate friends will not warrant such a
proceeding.

CORRECT DRESS FOR TEAS, MATINEES AND AFTERNOON RECEP-
TIONS

Dressing for afternoon teas and lunches was at one
time a matter of small consequence. The hostess
received in an ordinary house dress and her guests
wore their street or shopping gowns with their bonnets.
However, where several ladies assist the hostess, now-
adays, handsome reception dresses are worn and the
gas is lighted to give an evening effect. There is no
sight prettier to the eye than a young girl dressed in
some light becoming dress of pink, yellow, lilac or
blue presiding at a tea-table which is decorated in a
harmonious color. The elder ladies, who are not now
asked to preside and pour tea, wear dark gowns, while
the ladies who receive are attired in dinner dress.

In France and England were introduced for afternoon
teas the luxurious garments yet known as "tea gowns".
Silk, satin and cascades of costly laces were intro-

THE ETIQUETTE OF DRESS 299

duced for them. They were wonderfully becomingj
but American women did not find them the proper
thing for a gown in which to receive indiscriminacely.
The tea gown is really a boudoir dress, although the
handsomest materials are used for it.

The afternoon reception differs but little, so far as
dress is concerned from the afternoon tea. The refresh-
ments are generally more elaborate and there are no
pretty girls pouring tea. But the dresses of the hostess
and the ladies assisting her are the same. Ladies who
attend receptions have found that very heavy street-
gowns are dangerous. They wear them into rooms
heated sufficiently for the ladies in lighter garments,
and when they come out a terrible cold is the result.
Consequently as light a dress as possible is now worn
under a street cloak. The latter is removed in the hall
or some appointed convenient room and then the call
is made as long as is desired. The hat or bonnet is
retained and consequently the dress must correspond
with that.

In Washington society the afternoon reception is a
marked feature of the cit}^ An afternoon reception in
Washington is unlike a reception in any other cit}'.
The ladies in official life receive every one who chooses
to call, and you can attend in your travelling dress
and are not expected to remove 3'our wraps or to be
introduced to any body. Your name is announced to
the hostess and nothing else formal is demanded.

Washington is also about the only city in America

300 THE ETIQUETTE OE DRESS

that keeps up to-day the pleasant old custom of hold-
ing rceptions on New Year's day. Much magnificence
is permissible for these receptions both in dress and
the decoration. It should in this regard be limited
only by the purse of the receiver. However, for these
receptions as well as for all others and for teas also,
the hostess should study general effects.

The dresses of the ladies receiving with her, as well
as her own gown should be in pretty contrasting or
harmoniously blending colors as regards each other, and
also when considered with the furnishing and decora-
tions of the rooms.

The proper dress for matinees is something similar
to a reception dress although generally it need not be
quite so elaborate.

If a lady is going to an ordinary theatrical perform-
ance, a cloth street dress that is not too warm answers
every purpose. But if it is an operatic matinee or a mus-
ical or dramatic matinee given in some private house,
a more delicate and pretty costume with a bonnet or
hat to match should be worn. The same thing is
demanded when she is, by invitation, one of a box-
party at an ordinary theatre matinee.

CORRECT DRESS FOR DINNERS

Dinners have long been considered among the most
important and stately of social fimctions in England
and Continental countries and in America they are
steadily growing into the same estimation. Americans
tried to delude themselves into thinking they could "live

THE ETIQUETTE OF DRESS 301

without cooks," could "live without dining" but exper-
iep.ce makes them false to such principles.

Woman's dress for dinner has also been a matter of
contention. An acknowledged authority in the social
world says regarding this subject, "The fashion of
wearing low-necked dresses at dinner has become so
pronounced that the moralist begins to issue weekly
essays against this revival as if it had never been done
before. Our virtuous grandmothers would be aston-
ished to hear that their ball-dresses, never cut high,
were so immoral and indecent. The fact remains that a
sleeveless gown, cut in a Pompadour form, is far more
of a revelation of figure than a low-necked dinner-
dress properly made. There is no line of the figure so
dear to the artist as that one revealed from the nape of
the neck to the shoulder. A beautiful back is the
delight of the sculptor. No lady who understands the
fine art of dress would ever have her gown cut too
low : it is ugly, besides being immodest. The persons
who bring discredit on fashion are those who misinter-
pret it. The truly artistic modiste cuts a low necked
dress to reveal the fine lines of the bacjs:, but it is
never in France cut too low in front. The excessive
heat of an American dining-room makes this dress very
much more comfortable than the high dresses which
were brought in several years ago, because a princess
had a goitre which she wished to disguise.

"No fulminations against fashion have ever effected
reforms. We must take fashion as we find it, and strive

302 THE E '1 'IQ UE TTE OE DRESS

to mold dress to our style, not slavish!}^ adhering to,
but respectfully following, the reigning mode, remem-
bering that all writings and edicts against this sub-
ruler of the world are like sunbeams falling on a stone
wall. The sunbeams vanish, but the stone wall
remains."

The young married woman in every instance wears
a light silken house dress cut square at the throat, and
the young girls admitted to dinner wear dainty evening
gowns with their hair dressed in the most becoming
manner.

CORRECT DRESS FOR LAWN PARTIES

The acceptance of an invitation to a lawn or garden-
party means, for people in cities, a trip by rail or
some other public conveyance and one's dress must be
arranged accordingly.

The garden-party proper is alwa5's held entirely in
the open air. In England the refreshments are served
under a inarquee in the grounds, and in that inclement
clime no one seems to think it a hardship if a shower
of rain comes down, and ruins fine silks and beautiful
bonnets. But in our fine sunshiny land we are very
much afraid of rain, and we do not like to ruin our
finery an}' more than we enjoy running the risks of
colds, and their attendant unpleasantnesses.

Consequentl}', the hostess generally receives in some
large room looking out on the lawn, through low,
accessible windows. The hostess, of course, imder
such circumstances, wears a house dress. However,

THE ETIQUETTE OF DRESS 303

when the party is given entirely in the open air, she
wears a bonnet or a becoming hat in receiving her
guests. The lady guests invariably wear bonnets and
keep them on indoors and out. Short light or silk
dresses have been the sensible fashion hitherto, but
longer skirts for the lawn creep in when trains are in
fashion for other daytime functions. Indeed a long
dress looks very pleasing under the trees on the grass.

Where the entertainment takes on more of a tennis
party order than a garden reception, the dress must be
governed accordingly. If it is the latter, one must
dress very handsomely, while if it is an affair just "to
have a good time" and play tennis or archery, croquet
or some such games, pretty flannel dresses made for
the purpose are the proper gowns to wear. Round
straw hats or flannel caps will be the proper head cov-
ering.

The matter of shoes is also an important one. For
the reception, light kid shoes or walking boots maybe
worn to correspond with the remainder of the costume,
as where there is a possibility of dampness, the hos-
tess will provide rugs on the ground. But tennis shoes
or thick boots are required when )'ou expect to be
exposed to the wear and tear of outdoor games.

Costumes for picnics, excursions and trips for the
day to the lake or seaside should be of a strong mate-
rial, simply cut and of plain color. Serge, flannel and
tweed are excellent. Never wear a wash dress for such
trips, you may start out charming and fresh, but will

304 THE ETIQUETTE OF DRESS

not remain so many hours, even on a sunshin}^ day.

CORRECT DRESS FOR DRIVING AND COACHING

Our grandmothers dressed in heavy broadcloth riding
habits, when traveling in coaches we are told. The heat
and distress must have been something awful, but they
do not excite our pity more strongly than do our dear
sisters who think they must drive in thin laces and
gauzes, through which the sun is also uncomfortable.

Of course a woman need not be so severely plain in
her carriage or coaching attire, as when walking the
street, but quiet elegance in color and design is abso-
lutely demanded in both situations.

CORRECT DRESS FOR WEDDINGS AND WEDDING ANNIVER-
SARIES

In Chapter XVII., while giving some other informa-
tion the etiquette of wedding dresses has been rather
thoroughly discussed. A 3'oung bride at a large wed-
ding may be gorgeously arrayed in white satin, laces
and orange flowers, and her bridesmaids may be almost
as magnificent. In this, day weddings do not differ
from evening weddings. For quiet weddings the bride
dresses in a travelling dress and hat and departs for
her mysterious wedding trip.

A widow should never be accompanied b}^ brides-
maids, nor wear a veil or orange-blossoms at her mar-
riage. She should at church wear a colored silk and a
bonnet, and should be attended by her father, brother,
or some near friend. If married at home, the widow

THE ETIQUETTE OF DRESS 305

bride nia}'^ wear a light silk and be bonnetless, but she
should not indulge in any of the signs of first bridal.

The guests at weddings should always be dressed in
as festive a manner as is consistent with the surround-
ings. The respective mothers of the bride and groom
should wear handsome silk or velvet dresses and the
children of the families are always admitted to wed-
dings. Their gay little dresses are often a marked
special feature of the occasion.

For weddings in families where a death has recently
occurred, all friends, even the widowed mother, should
lay aside their mourning for the ceremony, appearing
in colors. It is considered unlucky and inappropriate
to wear black at a wedding. In our country a widowed
mother appears at her daughter's wedding in purple
velvet or silk ; in England she wears deep cardinal red,
which is considered, under these circumstances, to be
mourning, or proper for a person who is in mourning.
Dresses for wedding anniversaries need not be peculiar
to the occasion.

As to the dress of the bride of twenty-five years of
wedded happiness, we should say, "Any color but
black." There is an old superstition against connect-
ing black with weddings. A silver gray, trimmed with
steel and lace, has lately been used with success as
an anniversary bridal dress. Still less should the dress
be white ; that has become so canonized as the wed-
ding dress of a virgin bride that it is not even proper
for a widow to wear it on her second marriage. The

3o6 THE ETIQUETTE OF DRESS

shades of rose-color, crimson, or those beautiful mod-
ern combinations of velvet and brocade which suit so
many matronly women, are appropriate silver-wedding
dresses.

However, any dark fabric in accordance with the
position of the family in society will be just as appro-
priate. It is a pretty idea at such receptions, espec-
ially a golden wedding, for the bride to receive her
friends arrayed in some article which she wore at her
first wedding, if any remain. Sometimes a veil, a
handkerchief, or a fan (scarcely ever the entire dress
has lasted so long) is worn and adds to the significance
of the occasion.

CORRECT DRESS FOR DANCING PARTIES

Dancing parties of^to-day are what were once termed
balls, and they are the gayest of all gay social enter-
tainments. Dinners call for handsome dressing, but a
dancing reception demands it. Just as for dinners,
however, the young and slender women wear light,
diaphanous materials while the heavier and elder ones
adopt velvets, brocades and stately satins.

Trained dresses are always inconvenient in a ball-
room but fashion often absolutely demands them. How-
ever, when a young woman who dances can wear a short
dress she should do so. It adds to her youthfulness,
her lightness of step and to her general attractiveness.

Older women, the married belles, and the young
chaperons may always accept the trained dress as
their privilege, but, at the same time, the length of

THE ETIQUETTE OF DRESS 307

the train should not be unduly extended. For the
stately square dances trains are not much in the way,
but to undertake the waltz in a long, heavy, velvet
train requires the strength of more than the ordinary
American woman.

Jewels and flowers as ornaments are entirely proper
in a ball room, although the intense heat soon withers
the latter. We quote again an acknowledged authority
who says : "For balls in this country, elderly women
are not expected to go in low neck unless they wish
to, so that the chaperon can wear a dress such as she
would wear at a dinner — either a velvet or brocade,
cut in Pompadour shape, with a profusion of beautiful
lace. All her ornaments should match in character,
and she should be as unlike her charge as possible.
Young girls look best in light gossamer material, in
tulle, crepe, or tarlatan, in pale light colors or in white,
while a stout, elderly woman never looks so badly as in
low-necked, light-colored silks or satins. Young women
look well in natural flowers, elderly women in feathers
and jeweled head-dresses."

CORRECT DRESS FOR MOURNING

Chapter XVI of this book gives an extended account
of the preparation of mourning for different members
of a family and necessarily much of the etiquette gov-
erning mourning "is included. However, just here we
will furnish a condensed resum6 of the entire question.
This perhaps, will prove more valuable to our readers.
For when death comes, he is always unexpected and

3o8 THE ETIQUETTE OF DRESS

a ready reference book, giving exactly and concisely
just what is proper to provide will be a friend indeed.

Widows' mourning is worn for two years in England
and America; in France for one year and six weeks.
It consists of woolen stuffs, which are lustreless and
of crape. When mourning for a parent, children who
are grown wear the same mourning for one year.
Younger children's should never be continued more
than six months. Mourning for a brother or sister,
for a grandparent, step-mother or step-father is also for
one year. In England this mourning lasts only three
months. Mourning for children should be crape-
trimmed dresses and last for but nine months.

Mourning should be discarded by gradations. Black
kid gloves are worn in first mourning but in six months,
especially if it be summer, silk gloves may be worn.
The crape on the dress is removed for the first stage,
then trimmings of jet and lace are taken up, and grad-
ually one drifts back into colors of all kinds, by way of
the grays and their kindred.

CORRECT DRESS FOR SERVANTS

A neat-handed Phyllis in any family will always have
at hand a clean gown, apron and cap, hanging hand)^
to slip on in an emergency. This is true where only
one servant is kept and where a full retinue is at hand.
Some girls show great tact in this matter of appearing
neat at the right time, but many of them have to be
taught by the mistress to have a clean cap and apron in
readiness. The mistress usually furnishes these items of

THE ETIQUETTE OE DRESS 309

her maid's attire, and they should be the property of
the mistress, and remain in the family through all
changes ol servants. They can be bought at almost
an}^ repositor)' conducted in the interest of charity or
they can be made at home, and a dozen of them in a
house greatly conduces to an improvement in the
appearance of the servants.

Servants should never wear woolen dresses when at
work. Calico and chintz are good fabrics but seer-
sucker ginghams wear and wash better, consequently are
cheaper. They should be required to wear light shoes
in the house and trained to step lightly. The above
remarks apply particularly to house servants or to those
who are about where they are seen constantly by mem-
members of the household, as well as by the stranger
who rings the bell.

The cook, the laundress and the nurse-maid are inde-
pendent houshold personages, where all of them are
engaged. A woman who cooks, prepares meats and
vegtables and is in the kitchen all day need only be
required to dress neatly and allowed her own way other-
wise. Cotton dresses and gingham aprons are however
her best regalia. The woman who washes and irons
is given equal latitude. She must not be allowed to
think she can wear day after day aprons and dresses
stiff with soap and the effects of dirty water, and cotton
gowns are best for her also. The nursemaid is another
important factor where she is a necessity. On page
147 full information is given on this subject, and we
can not devote further space to it at present.

CHAPTER XXV

TERMS USED IN DRESSMAKING

No science, no art is without a certain language of
its own, a language which must be mastered by the
beginner. For example, terms used in cookery have to
be learned by the novice ; also terms used in botany
and chemistry, presenting the extra difficulty of being in
a dead language ; and musical terms, which are chiefly
Italian, cookery technicalities being French. To France,
then, as the great leader in the civilizing arts of cookery
and dress, do we turn for instruction in the alphabet of
dressmaking terms. These terms should be acquired
by beginners, for, although we endeavor to avoid
French words as much as possible in this book, yet
certain words have become Anglicised, and are accepted
and understood by all workers. We may instance the
word Revers as one of these terms, which, being almost
untranslatable into English, is universally made use
of by dressmakers, modistes, and drapers. In the fol-
lowing alphabetical list we have given — ist, the exact

or literal meaning of the word ; 2nd, the explanation

310

TERMS USED IN DRESSMAKING 311

when necessary ; and 3rd, an example of the applica-
tion, also when necessary.

We do not pretend that this list includes all, or even
one half, of the French terms used in dressmaking! for,
as novelties are continually arising, so words are
coined and become general in a short space of time ;
but the words most usually employed are here. Some
ladies wish that "dressmakers' language" could be "put
into English," but technical terms must be used in
describing the art of dressmaking as well as in describ-
ing all other arts.

LIST OF TERMS USED IN DRESSMAKING

Agraffe. — A clasp; also applied to gimp fastenings.

Appret — I. Finish; the dressing put into calicos, etc.
Ex. — Percale sans appret^ undressed cambric. 2.
Also the trimming at the back of a bonnet, either a
lace lappet or ribbon bow, or any finish to a head-
dress.

Assemblage. — Tacking together the various portions of a*
corsage for trying-on.

Aumonie. Alms bag; a small bag hanging from the

• waist.

Baleine. — Whalebone.

Bandeaux. — Bands ; applied also to bands of hair.

Bas. — I. The lower edge. 2. Stockings.

Basques. — Applied to the ends of a jacket or bodice fall-
ing below the line of the waist.

Biais. — I. Bias, on the cross. 2. Crossways.

Bombe. — Rounded or puffed.

312 TERMS USED IN DRESSMAKING

Borde. — Round; edged with.

Borde a cheval. — Edged with binding, of equal depth on

both sides.
Bottes. — Very thick walking boots.
Bo/thies. — Boots ; applied chiefly to house boots.
Bourre. — Wadded or stuffed ; a term often applied to

quilted articles.
Calotte. — Crown ; the crown of a cap or bonnet.
Camisole. — A loose jacket ; applied to dressing and morn-
ing jackets.
Capitonne. — Drawn in like the seat of a sofa or chair;

buttoned down.
Capuchon. — A hood on a mantle.
Casaque. — Corsage with loose, open fronts.
Cascade. — A fall of lace ; generally used in speaking of

lace that is made to flow, with zigzag bends, like a

river.
Ceinture. — Belt, waistband, or sash.
Chaussure. — Boots and shoes.
Chemise. — Shift : chemise de jour, day chemise ; chemise

de nuit, night-dress ; chemise deliomme, a night-shirt.
Chemisette. — Gauged or pleated material filling in the

open front or neck of a bodice.
Chiquete. — Pinked out.
Clos. — Closed or fastened.
Coiffeur. — Hairdresser.

Coiffure. — A head-dress : manner of dressing the hair.
Coive. — Bonnet lining.
Confection, — A term applied to all kinds of made-up man-

TERMS USED IN DRESSMAKING 313

ties, cloaks, and jackets, and all outdoor garments.

Coques. — Looped bows of ribbon.

Cornet. — The cuffs of a sleeve opening like the large end
of a trumpet, larger at the wrist than above.

Corsage. — Bodice.

Corset. — Stays.

Costume. — Complete dress.

Coulisse. — Small slipstitched band sewed on to the dress
by slipstitches, to contain a tape or ribbon runner.

Coquille. — Applied to draperies fallin^g in zigzag, shell
folds.

Crenele. — Crenelated ; cut in square scallops, like battle-
ments.

Dentelle. — Lace.

De niello. — Scalloped ; pinked-out.

Dents. — Scallops; these can be pointed or square.

Deshabille. — Undress costume ; usually applied to elab-
orated robes-de-chambre.

Dessous. — Underneath.

Dessiis. — Above.

Devant. — Front.

Dos. — Back.

Echarpe. — A scarf ; applied also to scarfs tied round the
hat.

Ecru. — The color of raw silk.

Effile. — Fringe, generally a narrow one.

Encolure. — The opening at the neck of a dress, or the
arm hole

En biais. — On the cross.

314 TERMS USED IN DRESSMAKING

En chale. — Resembling a shawl ; applied to bodices and

drapery.
En coeur. — Heart or V-shaped ; applied to bodices.
En coquille. — Folded backwards and forwards in zigzags.

Shell points.
En echelle. — Like a ladder.
En eventail. — Like a fan.

En tablier. — To look like or imitate a tablier.

Envers. — The wrong side.

En- fouf-cas. —Silk sunshade, like a small umbrella, to
ward off the sun or rain.

Epais. — Thick.

Epaissseur. — Thickness.

Fendu. — Slashed, cut open; applied to jacket-basques,
sleeves, etc.

Fichu. — A half-square, cut from corner to corner ; any
small covering for the shoulders.

Flots. — Quantities of lace or ribbon so arranged as to
fall over each other like waves. Ex. — Flots de den-
telle, rows of gathered lace falling one over the other.

Frange guillee. — A rather deep fringe, with an open head-
ing, like network.

Frances. — Gathers; Fronce' gathered.

Gilet. — An undervest of a dress.

Glace. — Shot, materials with cross threads of two or
more colors.

Jarretiere. — Garter.

Jupe. — Skirt.

Jupon. — Petticoat.

TERMS USED IN DRESSMAKING 315

Lainage. — Woolen materials.

Lingerie. — Collars and cuffs, made either of linen, cam-
bric, or muslin and lace ; also underclothing.

Lisere. — A narrow edging or binding.

Lisiere. — Selvage ; applied also to the colored edges of
silks.

Mane he. — Sleeve.

Manchette. — Cuff.

Manteau. — Cloak.

Matinee. — Elegant, loose bodice for morning wear.

Moire. — Watered.

Mule. — A heeless slipper.

Noeud. — A bow or knot.

None. — Tied or knotted.

Omhrelle. — Parasol.

Packing. — A coarse, loose canvas.

Pardessus. — Jacket, mantle, coat; any garment worn
over the toilette.

Parement. — Cuff on the outside of a sleeve.

Parure. — A set of collars and cuffs ; applied also to a
set of jewellery, passementerie ornaments, etc.

Passant. — Piping without a cord.

Passe. — The brim of a chapeau or cap.

Passementerie. — Embroidered trimming of silk cord and
beads.

Peignoir. — Dressing gown ; dressing jacket.

Pekin. — Striped.

Pelerine. — A small mantle rounded like a cape.

Petti cote. — Side-piece.

3i6 TERMS USED IN DRESSMAKING

Placket-openifig. — The opening of a skirt at the ends of

the waistband.
Plastron. — Breast-piece; a piece put on the front of a
dress bodice, generally of a different color or material.
^//.— Fold.
Pli Rond. — Box-pleat.
T'/w— Folds.
Plisse. — Pleating.

Polonaise. — Tunic in one with the bodice.
Ras-terre. — Just touching the ground.
Redingote. — Polonaise or long coat, with long straight

basques open in front.
Retaper. — To do up a bonnet or hat. (Milliner's term

only).
Robe. — Dress.

Robe-de-chambre. — Dressing or morning gown.
Rouleaute. — Trimmed with rolled bias bands.
Rouleaux. — Rolled trimming made of crossway strips of

material.
Ruches. — Gathered or pleated trimmings; called ruches

here.
Saut-de-lit. — Dressing-gown.
Simuler. — Simulate ; to imitate.
Soulier. — Shoe.
Taille. — Waist or figure.

Tablicr. — Front of tunic, covering the skirt like an apron.
Toilette. — A dress or costume.
Top-sewing. — Overcasting closely.
Tournure. — A bustle ; also the general appearance of a

TERMS USED IN DRESSMAKING 317

a dress, costume or person. Ex. — Tourntire distin-

guee. Lady-like appearance.
Traine.- — A train. A traine. — With a train.
Tresse. — Braid.
Tunique. — Tunic.
Tuyaux. — Fluted pleatings.
Tuyaux d'orgue. — Wide flutings, like the pipes of an

organ.
Velours. — Velvet.
VeloutCs — Soft, like velvet.
F(?/^w^;//. — Garment, mantle.
Volant, — Flounce or frill.

CHAPTER XXVI
TO CUT A BASQUE PATTERN BY MOLDING

THE FRONT BACK AND SIDE-BODIES EMBELLISHMENTS —

THE SLEEVE

THE FRONT

The system of molding the figure by the pattern, or
rather, taking a correct cast of it in muslin or paper,
is a totally different system from cutting the pattern
from precise measurements, and is on the whole, quite
as successful, as few human figures are perfect, or are
even exactly alike on both sides.

The method of molding, as we intend to show it, is
simple and practical, and does not call for the mathe-
matical aptitude necessary in so many systems taught
to-day. Of course, patterns cut with mathematical
precision are excellent, but it is not every lady who
possesses enough intelligence to grasp the system,
or accuracy enough to work it out successfully. As
time is money, it is necessary that what has to be
learned should be learned well and quickly; so it is

our duty to smooth difficulties rapidly and entirely.

.318

TO CUT A PATTERN BY MOLDING 319

Dressmaking to-day is not a trade, it is an art, for
every woman should be molded by her corsage. As
no two busts are exactly the same it is impossible to
give a scale of proportion. The corsage must be molded
on the figure which is to wear it.

We commence with the front. It is a properly shaped
corsage with one dart. We have purposely chosen a
slightly fanciful pattern to show that fanciful details
set to perfection if molded on the figure with the gen-
eral outlines of the corsage.

For half of the basque take three-quarters of a yard
of strong m.uslin or silesia, and cut off the two sel-
vages. Pin this muslin on the bust to be molded in
the following manner : Place the one selvage down
the centre of the front, keeping the material as much
on the straight as is consistent with the natural wavy
line of the figure. Place the first pin at the collar,
leaving 10 inches of muslin above, and pin the muslin
smoothly in place on the widest part of the bust. Pin
the muslin round the collar to the shoulder-seam, cut-
ting long rents in the muslin above to let it fall in
place, taking care that the muslin forms no pleat or
wrinkles. Pin it round the armhole of the front in the
same manner, and lastly pin it along the shoulder-
seam. Now the upper part of the muslin front should
lie smooth, without wrinkle or pleat, on the figure.

The lower half of the front is a little more difficult.
Pin the dart, taking care that the line nearest the front
is on the straight of the muslin. In a corsage with

320 TO CUT A PATTERN BY MOLDING

two darts you will find that the second will be the
longer, and will take up the most material in any
average normal muslin front thus molded to the figure.
The object is to keep the seam under the arm as much
on the cross of the material as is consistent with mak-
ing the muslin lie perfectl)' smooth and flat. The
front is now finished, and the most difficult part of the
molding done.

BACK AND SIDE-BODIES

Next commence the back. Pin the muslin on the
figure, keeping it on the straight as much as possible
in the centre of the back, and leaving about three
inches of muslin above the neck so that the shoulder
can be formed. Pleat over the edge of the muslin to
exactly correspond with the curved line in the centre
of the back. Pin the muslin smoothl}' across the back
without straining it or putting it out of the straight,
outlining the curved side which joins the side piece of
the back, and the hollow for the sleeve. When this
is cut to shape enough to let the muslin lie flat, the
true shape being indicated by pleating over and indent-
ing the muslin with the nail, mark out carefullj' the
shoulder-seam, which must lie smooth but easy. Never
mind if it looks too straight or too sloping ; shoulders
differ much, and the pattern should fit them well.
When all is marked and roughly cut, unpin the mus-
lin and cut out the back smoothly according to the
marks and pins on the muslin.

The side-bodies are done in the same way. The

rO CUT A PATTERN BY MOLDING 321

side-bod}' of the back must have the material on the
straight, judging by the eye, for both sides are much
on the bias when cut ; do not push your muslin to coin-
cided with the shape ; keep it on the straight, letting
the lower part of the basque turn as much to one side
and the upper part near the sleeve as much to the other
as is necessary. Always be careful in cutting patterns
to leave sufficient length below the waist line, or the
whole fit will be spoiled. It will be noticed that the
side adjoining the side-body of the front is less on the
bias than that to be sewed into the back.

As to the side-body of the front, when the muslin
is pinned on the figure, the side joining the front must
be as much as possible on the straight ; proceed as for
the rest of the pattern, leaving the basque very easy and
much on the bias.

EMBELLISHMENTS

For embellishments the molded system is far superior
to measurements. Revers and collars, for example,
never fit well unless they are molded on the figure.
Our good mantle makers mold for revers in soft paper
or muslin on the figure of the future wearer, and then
send the pattern to the furrier to be exactly copied in
fur.

Collars, whether standing or revers, should always be
molded either in strong muslin or strong but supple
paper. There is no need to mold the whole collar,
half sufficing, commencing at the middle of the back,

322 TO CUT A PATTERN BY MOLDING

that being the highest point and therefore nearest the
upper edge of your muslin or paper.

The standing collar shown on page 83 is a very easy
one to mold. Pin your muslin in place in the centre of
the back, making the selvage the central line, then
pin it round the neck, slitting up the material below
to let the muslin lie smoothly — as you form the rounded
line at the neck, pleating the material with your nail
into every curve, slitting the muslin beyond your collar
wherever any pull is observed.

THE SLEEVE

When we come to the sleeve we find molding inferior
to good measurements. True, one can mold a perfectly
fitting sleeve, too perfectly we ought to say, for it
occasionally fits too perfectly to allow the muscles fair
play. Unless the sleeve be molded on a very well
shaped arm, after the molding is completed it is advisa-
ble to bring a few simple measurements into use, to see
if we have allowed enough room across the elbow, un-
der the arm, etc.

Molding is excellent for finding the correct place of
the elbow (so variable in different arms), also the exact
curve of the upper edge to fit into the shoulder. Com-
mence with the upper of the sleeve, along the line of
the elbow, cut this in shape, and pin the muslin
smoothly across to the inner seam, catting rents beyond
this upper portion in the muslin to allow the curved
inner seam to lie eas}'. Next fit the muslin into the
shoulder to get the rounded curve, which will be found

TO cur A PATTERN BY MOLDiyG 323

a little difficult, as the sleeve on which )'Ou are mold-
ing is gathered into the shoulder. Take points in the
curve, about two inches apart, and pleat over the mus-
lin between these points to form a straight line. You
will be able to round off and correct the tiny angles
thus produced when the molding is finished, and to
form a firm sweeping curve.

The under of the arm is done in the same way, but
5^ou will have to cut rents beyond the under part in
the muslin to make the line under the arm lie easy.
Outward curves do not require this, but inward curves
need these rents to avoid pulling and straining. This
completes the sleeve.

The molding is now done. To complete the pattern
compare the seams one with another where they are
to fit, and lightlj^ shave off any excrescence and over-
plus. See that the scissors cut smooth lines, undis-
figured by jags and notches, for when using the pat-
tern you Avill forget whether the outside or the inside
of the jags is your correct pattern, and every fragment
of an inch tells in the fit. The best means of making
the seams quite even is to lay together each two sides,
which are to be eventually seamed together, edge to
edge, and shave off lightly any irregularities at one and
the same time.

For a very stout figure three side-pieces are often
found requisite in place of two. They must be molded
in the way described above, but the space between the
backs and fronts must be divided in three, so that at

324 TO CUT A PATTERN BY MOLDING

the waist the three side-pieces measure almost the
same across.

In the case of striped materials, which are so diffi-
cult to cut well, especially when the stripes are wide
it is as well to avoid the three side-pieces. It is easy
to arrange the stripes symmetrically at the back, but
the side pieces puzzle the cleverest and it is next to
impossible to avoid in them the ugly, cut-up appear-
ance of innumerable stripes abruptly commencing and
terminating with no real beginning and no real end.

CHAPTER XXVII
CUTTING-OUT BY MEASUREMENT

INTRODUCTION MEASUREMENTS HOW TO TAKE MEAS-
URES VERIFICATION OF THE MEASUREMENTS VARIABLE

MEASUREMENTS DRAFT OF PATTERN OF A DRESS

VERIFICATION OF THE PATTERNS FOR A BODY PATTERN

FOR BASQUE DRESSING GOWN LOW, ROUND WAIST —

TRANSPOSING MEASUREMENTS DRAWERS FOR A WOMAN

DRAWERS FOR A GIRL PRINCESS APRON APRON WITH

STRAPS — APRON FOR CHILD

I
INTRODUCTION

The making up of a dress or garment of any kind con-
sists in joining together, by means of seams, several
different detached pieces. To make the body of a gown
it is a good plan, before joining such pieces together, to
cut them out on paper patterns drafted by oneself,
and which have been drawn according to measurements
taken in the manner we shall hereafter indicate.

This method is one taken from the standard French

system, devised b}' Mdlle. Grand'homme.

325

326 CUTTING OUT BY MEASURMENT

In order to facilitate the drafting of such patterns,
it has been found that the best plan is to trace their
outlines on rectangular diagrams, excluding every use-
less detail. Thus, for example, to draft the pattern of
a sleeve, a rectangular diagram — ABCD— should be
made, in which, following the measurements indicated,
the pattern of this part ot the dress should then be
drawn.

When such a pattern is correctly drafted, nothing
remains to be done but to cut it out. The attainment
of this object, therefore, is the aim of the following
method of cutting-out.

If the person who is to be measured wears a dress
with a round waist, the lengths of the front and back
can be easily taken ; on every other kind of dress these
are liable to be inexact. It will be well, consequently,
in the latter case, in order to facilitate the task, to run
a ribbon round the waist of the person, which wil
replace a waistband, and enable the precise measure-
ments of the front, back, and under part of the arm
to be correctly taken.

MEASUREMENTS

To apply this method of cutting-out, two kinds of
measurements are indispensable :

1. Variable measures.

2. Fixed measures.

I. VARIABLE MEASURES

Variable measures aie so named, because they vary

CUTTING OUT BY ME A S UREMENT 327

according to the figure of each person : they are twelve
in number :

1. Length of the body.

2. Width of the shoulders, taken in front.

3. Width of the chest.

4. Length underneath the arm.

5. Round of the waist.

6. Length of the back.

7. Width of the back. {This measure must be taken

twice. )

8. Testing measure.

9. Length of arm. {This measure must also be
taken twice: the length on the inner, and the length on the
outer side of the arm. )

10. Size round the arm.

11. Size round the wrist.

12. Length of the skirt. {This measure must be taken
three times: in frotit, on the hip and at the back.)

These measures serve to form the diagrams of the
front, back, and side-piece, or additional piece of the
back, also of the sleeve and skirt.

Every length remains in its entiret)', but every width
is divided into two, except the fifth measure, — the
round of the waist, — which is subdivided into four.

2. FIXED MEASURES

Fixed measures are conventional measures which
serve for the patterns of every figure; they never vary
for a woman's figure, and indicate how many inches or
eighths of inches of the material must be cut away for

328 CUTTING OUT BY MEASUREMENT

the round of the neck and slope of the shoulder ; they
also show the distance required between the darts, and
thus serve for the drafting of patterns.

Ill

HOW TO TAKE MEASURES

With the view of facilitating to learners the proper
manner of measuring, we first give two figures {the front,
back, and part of the skirt), on which the inch-tape or
measure is shown by small straight lines, and is placed
exactly as it should be on the living figure. Attached
to each of these measurements taken upon the person,
a numeral is found corresponding to the foregoing
measures.

I. Length of the Body. — From the shoulder-seam, at
the neck, to the middle of the front, below the waist.

CUTTING OUT BY MEASUREMENT 329

2. Width of Shoulders, taken in front. — From the
shoulder-seam, at the right armhole, to the shoulder-
seam at the left armhole.

3. Width of Chest. — From the seam under the arm, at
the right armhole, to the seam under the arm at the
left armhole.

4. Length under Arm. — From the seam under the arm,
at the armhole, to the hip.

5. Round of Waist. — The tape inch-measure must be
passed round the waist of the person, and slightly
tightened.

6. Length of Back. — From the shoulder-seam, at the
neck, to the waist.

330 CUTTING OUT BY MEASUREMENT

7. Width of Back. — This measure must be taken

twice :

1. From the shoulder seam, at the right armhole,

to the shoulder-seam at the left armhole.

2. From the seam underneath the arm, at the
right armhole, to the seam underneath the arm
at the left armhole.

8. Testing Meastire, or total size of the person. This
measure is taken by passing the tape underneath both
arms.

9. Length of Arm. This measure must be taken twice :

1, From the shoulder-seam, at the armhole, to
the wrist, bending the arm at same time. This
gives the outer length of the arm.

2. From the top of the inner seam of the sleeve •
to the wrist, stretching out the arm at same
time. This gives the in7ier le7igth of the arm.

10. Roicnd of Arm. — Pass the tape round the arm, at
the armhole, and do not tighten it.

11. Round of Wrist. — Pass the tape very carefully
round the wrist, taking into calculation the smallest
subdivision of an inch.

12. Length of Skirt. This measure must be taken three
times :

1. In front.

2. On the hip*.

3. At the back.

It is always necessary to count an inch and two-
eighths more than the inches given, for the material

CUTTING OUT BY ME A S UREMENT 3 3 1

once cut, shrinks — cloth, velvet, and merino alone

excepted.

VERIFICATION OF THE MEASUREMENTS

The measurements when taken must be tested.

I. The second measure — width of shoulders, taken
in front — and the seventh measure — first width of back,
— being compared, ought to give the exact difference
of 2^ inches. If 1^% be not found, the width of should-
ers, taken in front, must be diminished or added to ;
but nothing must be changed in the first width of back.
The number of 2^^ is required for the shape of the neck.
It very often happens that the width of the shoulders
gives an excess of 5^ inches, which indicates that the
shoulder-seams in the dress of the person who is to be
measured, are thrown unusually far towards the back.
If such a dress is to be copied,

1. The subtraction must give a difference of 4^.

2. The use of the variable measure, — the size
round the wrist, — must be changed.

3. For the fixed measures which form the slope of
the shoulders in front of the dress and at the
back, see Section XII. (Transposing of the
Measures).

4. Add together the third measure, — width of chest
— and the seventh measure, — second width of
back— and then compare the total obtained with
the testing measure.

Two cases may occur :

332 CUTTING OUT BY MEASUREMENT

1. The testing measure may be less than 39J4^
inches.

2. It may be more than 39^ inches.

1. If the testing measure be not fully 39^ inches,
it ought to be i^ inch more than the adding-up of
the two measures, width of chest and second width of
back; but if the difference exceed i^ inch, it will be
necessary to diminish both measures in equal propor-
tions.

The difference of i^^ inch is peculiar to the figure
of a child ; in that of a woman it may be less than if^.

2. If the testing measure attains or exceeds 39j^
inches, the adding-up ought to produce the same num-
ber exactly.

VARIABLE MEASURES

(Used as Supplementary to the Fixed Measures)
The second measure, — width of shoulders — and the
seventh measure, — first width of back — when com-
pared, give the differences 7.Y% inches {fixed measta-e).

The eighth measure — the testing measure — serves
two purposes :

I. It gives the exact size of the person, and i^
inch, {fixed measure), is allowed when the testing
measure has not reached 39^^ inches.
2. Having joined the front, the side piece, and the
back together, it is necessary then to find from
the middle of the front to the middle of the back,

CUTTING OUT BY MEASUREMENT 333

in a line with the armholes, half the testing
measure, plus seven-eights {^fixed measure ).
Should more be found, then, whatever is over
and above must be taken off from the armhole
at the side-piece of back, gradually to the bottom
of the pattern.
The fifth measure — round of waist — is used with the
fixed measure ; when the number of eighths which
should form the darts has been ascertained, then the
fourth part of round of waist must be taken, plus three-
eighths infixed measure'). The number obtained will
give the measure of the body round the waist, with the
darts closed ; what is over and above will serve to form
the darts.

Note. — When three-eighths have been taken off from
the side-piece of the back, seven-eighths, instead of
three-eights, -must be added to the round of waist, for
the darts.

The tenth measure — round of arm — is divided into
two.

The eleventh measure — round of wrist — gives —

1. The round of wrist, which is a measure that can
not be divided.

2. The number of eighths for the front portion of
the armhole.

Whenever the back of the body contains a side-piece
then 2^ inches must be deducted from the number
given by the round of wrist ; the remainder serves for
the back portion of the armhole, which is finished by

334 CUTTING OUT BY MEASUREMENT

the side-piece, consisting at the armhole of i^ inch
(^fixed measure). If the back of the body be gathered,
or has a straight seam in the middle, then i^ inch
must be deducted from the number given b}^ the round
of wrist, and the armhole is drafted in its entirety.

VARIABLE MEASURES

(Not forming Rectangular Diagrams).

1. The second measure — width of shoulders, taken
in front.

2. The seventh measure — second width of back — is
never marked on a diagram when the back of the dress
is formed by the aid of a side-piece.

3. The testing measure.

4. The inner length of arm.

VII

, DRAFT OF PATTERN OF A DRESS

To make a woman's dress, it is necessary to draft
the patterns of —

1. The front.

2. The back.

3. The side-piece of back.

4. The sleeve.

5. The skirt.

I. DRAFT OF THE FRONT

To form the diagram of the front, take —
Length of waist {length of diagraDi).

CUTTING OUT BY MEASUREMENT 335

Half-width of chest {ividth of diagratn).

Mark ABCD at the four corners.

Noie. — These letters, in general, serve as starting
points for the fixeJ measures.

Slof>e of Neck. — This diagram ABCD being formed ;
from A to B, mark by a dot, 2^ inches ; from A to C,
3^ inches, and join both dots by a curved line, which
will form the slope of the neck.

Slope of Shoulder. — To form
the slope of shoulder, it is nec-
essary : I. To take half the
width of the shoulders from
dot 3^, at slope of neck ; then,
to measure the number obtained
horizontally, indicating it by a
dot. 2, From line AB to meas-
C" 7^ " ^" '0 ure verticall}^ 3^ inches {fixed

measure), in the direction of the dot indicated by the
width of shoulders. This measure gives the slope
required for the shoulder-seam. Join by a slightly
curved line, dot 2^ to dot 3^, to form the slope of
the shoulder.

Armhole. — Take the round of wrist, and from dot 3^^
(slope of shoulder), measure the length obtained ver-
tically, carrying it at same time to line BD, and indi-
cating it by a horizontal line. From this line towards
B measure three-eighths, and join it by an oblique
line to the point thus obtained ; then join this point
to dot 3^, — the slope of shoulder.

336 CUTTING OUT BY MEASUREMENT

Darts — To form the darts, go down ifs inches below
the armhole, and draw a dotted line horizontally,
which will indicate the height of the darts. From the
line AC (middle of the body), on the dotted line,
marked 3;^ inches for the first dart; from dot 3)^,
mark 2^^ for the second dart. From angle C to angle
D take 1 54 inch ; join dot 3^ to dot i^^ by an oblique
line. To find out the nvmiber of eighths each dart
should contain, take the fourth part of the round of
waist, plus Y%{fixed measure) ; carry the length obtained
from C to D, and make a dot. Whatever exceeds the
diagram at CD gives the width of the darts ; divide
this width in two for each of the two darts. Between
the darts there should be a space of seven-eighths ;
join dot y% to dot 2^ and dot 2^ to half the excess
marked on line CD, to form the second dart.

2. DRAFT OF THE BACK

To form the diagram of the back, take —
Length of back {length of the diagravi).
Half the first width of back {width of the diagravi).
Mark ABCD.

Slope of the Neck — The diagram ABCD being formed,
mark from A to B by a dot, i|4^ inch; from A to C,
^ inch; join these two points by an oblique line, which
will form the slope of the neck.

Slope of the Shoulder — From B to D measure 4 inches,
and make a dot; join by an oblique line, dot 4 to dot
\Y\, to form the slope of the shoulder.

C U TIDING OUT BY ME A S UREMENT 337

ArmJwle. — Take the round of
wrist less 2^ inches. From dot 4
measure vertical!)' the difference
obtained, and make a dot. Return
inside of the diagram ^ infixed
measure), and join dot 4 to dot ^.
From C to D, mark yi {fixed meas-
ure), and join, by a curve, dot 1/^ of
the armhole to dot % of the angle

Note. — If the back of the dress be gathered, only
i^ is to be deducted from the size of wrist; and in
such a case the armhole must be drafted in its entirety.

The same remark applies to a cape.

3. SIDEPIECE OF BACK

To form the diagram of the side-
piece of back, take —

Length of the inner side of arm,
plus ly^ {fixed measure) height of
diagram.

Fourth of the round of waist,
less three-eighths {fixed measure) width of diagram.
Mark ABCD.
The diagram ABCD being formed, from B to A
mark \){ {fixed measure); from B to D ij^^ {fixed meas-
ure). Join these two dots by a curve. From D to C
mark ^ {fixed measure). Join i^ of the line BD to
dot yk on the line DC by an oblique line. From C

338 CUTTING OUT BY MEASUREMENT

towards A mark i^, which join by a curved line to
dot i^ on the line BA.

4. DRAFT OF SLEEVE

To form the diagram of the sleeve, take —

The outer length of the arm (height of the dia-
gram).
Half size round the arm (width of diagram).
Mark ABCD.

The diagram ABCD being
formed, from A towards C, mark
iy% inches (fixed measure). Draw
a curved line ending at i^ from
angle B, to form the armhole.
From C towards A, mark i^
inch (fixed measure). Between
the dots 3^ and i^, ought to be
found the number of eighths giv-
en by the variable measure, — the
inner length of the arm ; take the
half of that number and mark
it by a dot. At this dot return within the diagram
i^ ; join by a curve the dots 3^^, \}^, and i^, which
will form the inner seam of the sleeve. From C
towards D, mark 4^ inches (fixed measure). Join
dot \y% to dot 4^ by an oblique line (the bottom of
the sleeve). To indicate the position of the elbow,
take half the outer length of the arm. From angle D

CUTTING OUT BY MEASUREMENT 339

toward angle B, mark the number of eighths obtained ;
join this dot to dot 4^.

5. DRAFT OF PATTERN OF A SKIRT

A skirt consists of many pieces, the number of which
vary according to the width of the skirt and of the
material.

To form the diagram of the front of a skirt, take —

ITS B Half the width of the

material (width of the
diagram).

Length of front of skirt
(length of the diagram).
Mark ABCD.
Note. — This diagram
supposes a material of
the usual width of 27^^
inches, which is divided
in half, thus giving \zV\
inches for the width of
the diagram.

The diagram ABCD
being formed, from A to
B mark 4 inches, plus
i^ (fixed measure) ; from
A to C, J4 ; join dot ^
to dot i}{ by a slight
curve, this line forms the
front half of the skirt, the
1^4 plus serves for the little fold which hides the

340 CUTTING OUT BY MEASUREMENT
pocket. From dot i^ draw a line which ends at D.

To form the diagram of the bias breadths, take-
Width of the material (width of the diagram).
Length of skirt, taken at the hip (length of the dia-
gram).

Mark ABCD.

From A towards B mark 5^ inches (fixed measure) 3

CUUTING OUT BY ME A S UREMENT 34 1

from A to C 1)4^ (fixed measure); join dot i^ to dot
5/^ ; from D to C mark 5^ inches ; join by an oblique
line dot 5^3 on line AB to dot 5/^ on line CD ; the line
which joins the dots 5^ forms the two bias breadths
of the skirt, narrow at top and wide at bottom.

Note. — Should any one wish to make two breadths
from one width of material, as the diagram shows, the
material must not have a wrong side. If there be a
wrong side, it will be necessary, in order to form four
breadths from two widths of material, to place the
wrong sides facing each other.

VIII

VERIFICATIONS OF THE PATTERNS FOR A BODY

(By the Eighth Measure — Testing Measure).
For this purpose join the back, the side-piece of back,
and the front of the body at the seam under the arm.

The three patterns thus joined form half the body,
which is to be tested by taking half the testing meas-

342 CUTTING OUT BY MEASUREMENT

ure plus y%. To accomplish this object, the inch tape
must be laid on the line BD, underneath the armhole ;
the horizontal distance from BD to AC ought to give
us the number obtained when taking half the testing
measure plus 1/i.

If, however, instead of obtaining this result, half
the testing measure is found plus i^, recourse must
then be had to the variable seventh measure — the sec-
ond width of back — which in such a case ought to give
a lesser number of eighths than the first width of back,
and whence arise the seven-eighths which we found in
excess.

These must, therefore, be deducted from the side-
piece of back at the armhole (at the seam which joins
it to the front underneath the arm). But as the seven-
eighths thus taken away from the side-piece would
make the figure too tight at the waist, we must restore
them to the front by measuring the fourth of round of
waist, plus i^, and by dividing the surplus of the
material into two equal parts, which can be again
divided between the two darts.

Note. — The curves which join the back to the side-
piece must not be joined at top or bottom, because
the arm and the waist are smaller, and the shoulder-
blade is the most prominent portion of the back.

DRESSES FOR YOUNG GIRLS AND CHILDREN

To make dresses for young girls, the same number

CUTTING OUT BY MEASUREMENT 343

of measures must be used as for grown persons, and in
the same way, except alone for the front part of the
armhole, for which the number of eighths given by
the size of wrists must be plus 3/^.

Note. — Every one whose wrist measures but 5^,
and whose testing measure does not exceed 33^,
should, to draft her pattern, take the fixed measures
indicated on the plate below "For a girl fifteen years
of age!'

If the age of the child for whom the dress is to be
made is not found in the tables, then take the age
below for which the fixed measures are given, but
never take the age above. And to be more exact, you
can, moreover, ascertain the difference between the
fixed measures of the age above that of the child and
those of the age below.

That difference will enable you to draft a third plate
for the intermediate age.

FOR A GIRL FIFTEEN YEARS OF AGE

Note. — The width of the shoulders must be 2^ more

344 CUTTING OUT BY MEASUREMENT

than the first width of the
back. The fixed measures
are indicated in every dia-
gram, b}' numbers, which
must not be increased, and
whicli help in the drafting
of every pattern.

A CHILD ELEVEN YEARS OF AGE

Note. — The width of the

shoulders, taken in front, must be two inches more
than the first width of the back.

CHILDREN FROM ONE TO FIVE YEARS OLD

Children at this age are not, as a rule, very patient ;
consequently, it will be difficult to take on them the
twelve variable measures necessary in the case of grown

CUTTING OUT BY MEASUREMENT 345

V:)ersons. We must be satisfied, therefore, with but
five.

Example. — Variable measures belonging to a child
two years old :

Length of bod}- ..... 9— >^-

First width of back. . ... 9-

Testing measure .... i — %.

Size round wrist .... 4.

Length of skirt .... 15 — ^.
From these five variable measures are derived the
seven others which we have not taken upon the child.
See the table of age, where the number of eighths
will be found noted which the width of the shoulders,
taken in front, ought to have greater than the first
width of the back.

Example. — First width of back, 9. To this number
add 5/Q=gSyi, which will give the width of shoulders,
taken in front.

The number given by the testing measure will give
us the exact size of the child back and front ; but that,
though correct, will be insufficient, and the frock would
be too tight across the chest, because, in the case of
children, when we add up the width of chest and first
width of back, the total gives is/g more than the test-
\n^ measure. To find the width of chest and second
width of back, take a number equal to the first width of
back=9j^, and the number given by tlie testing meas-
ure:z=2i',4^ ; from these two numbers sul)tract :

346 CUTTING OUT BY MEASUREMENT

Example. 21^

9 -|- ^/^ =: 9^ gives the second width
of back.

Remains, xi.}^ + \yi =: i3>^ gives the width of
chest.

The +0 + 1^ added to the two numbers obtained,
give us the result which the adding up of the two vari-
able measures ought to have — the width of chest and
second width of back — neither of which we have taken
upon the child.

The length of the body gives the length of the back

The testing measure, less^, gives the round of the
waist = 2oi^.

The number given to us by the size of the wrist,

produces four variable measures :

I. Length under arm = 4 inches.

2 Outer length of arm = three times the size of
wrist + if^ =1^ X. 4 + i^ = 13^.

3. Inner length of arm = twice the size of wrist
+ 2^ = ^x4 + 2^= loi^.

4. Size of arm at armhole = twice the size round
wrist + 1^=^x4+1^ = 9>^.

Variable measures are used exactly in the same man-
ner as for the body of a woman's dress, except the
three following :

1. Size round wrist plus three-eighths — to form
the armhole at its front part.

2. Size round wrist minus two inches —to form

CUTTING OUT BY MEASUREMENT 347

the armhole at the back when there is a side-
piece.
3. Size round wrist minus seven-eighths — to form
the armhole when there is no side-piece at back.
To form the width of the diagram for the side-piece
of back, take the fourth part of round of waist, less
seven-eighths.

GENERAL DIRECTIONS FOR PREPARING A DRESS OR OTHER
GARMENT BEFORE MAKING IT UP

When, after having taken the variable and the fixed
measure, the patterns have been drafted, tested, and
cut out, they must be placed on the material, leaving
a few eighths for the turnings-in, which should be par-
titioned as follows :

1. iS/z inch for the lap down the front of the body.

2. 1]/^ inch for the shoulder-seams, those of the
side pieces at back, and of the sleeve.

3. yi inch for the slope of the neck and the arm-
holes.

In order to keep in mind the turnings-in. put pins
■along the edge of the paper pattern, but only at the
seams where they exceed half an inch. As a matter
of course, it is unnecessary to mark the turnings-in at
the slope of neck or armholes, as they are only two-
eighths outside the pattern. The pins which mark the
seams must be. put through the two pieces of material
on which the paper pattern is laid.

When the material for the body and sleeves is cut

348 CUTTING OUT BY MEASUREMENT

out, and each pattern traced ont with pins, the paper
patterns are taken off. Then the darts must be traced,
and the proper distance marked between them on the
front of the body, with pins. To find this distance, it
is necessary to measure, with the inch-tape, 3^ inches
horizontally from the lap down the front of the body,
and to stick a pin at this point ; then again, to meas-
ure 2^/^ inches, sticking in another pin, which marks
the distance between the two darts. Their height
should be i5^ below the armhole.

At the bottom of the front of body where the pins
mark the lap, measure i^ inch horizontally, stick in a
pin, then with more pins form an oblique line, ending
in the pin at dot 3^.

To find the number of eighths which each dart should
contain, see what we have said as to the second use of
the fifth variable measure — round of waist (page 333).

The darts being traced, the two pieces of material are
lightly tacked together, and the lines traced by the
pins traced by thread, which operation ended, the pins
marking the turnings-in are taken out, being replaced
by the threads.

Each piece composing the body is then lined, care
being taken that the two different materials of dress
and lining are laid in the same direction. When
each of the pieces has been separately lined, they are
all pinned to each other.

I. The darts, closely following the threads by which
they have been traced, and beginning at the top.

CUTTING OUT BY MEASUREMENT 349

2. The side-piece of back at the curved line in the
back, beginning at the armhole. The curved
line must be kept on the side-piece.

3. The back and front of the body, great exact-
ness being necessary in the armholes.

4. The slope of neck, back and front, also very
exactly ; then the slope of shoulder is formed.
The back being more bias than the front, must
be sustained by pinning the seam together.
When the different parts of the body are thus
collected, they must be basted together.

We cannot too strongly advise beginners to baste
with small stitches ; otherwise, when trying on a gar-
ment, the stitches open, and the dress, when properly
sewed later, becomes too tight, necessitating after
touches, most unpleasant to the worker.

DIFFERENT DRESSES

(Dress with Basque.)
To draft the pattern of a dress with basque, take the
same numbers of variable measures as for an ordinary
dress; the only difference being, that when writing
down the numbers for length of body, of back, and
underneath arm, the length desired for the basque must
be fixed upon, and that number of eighths added to
each of the ordinary measures.

After having tested the measures, add to tlie three
following measures a certain number of eighths, which
place within a parenthesis:

350 CUTTING OUT BY MEASUREMENT

1. Width of chest.

2. Round of waist.

3. First width of back.

Use of the Parenthesis. — The parenthesis is only used
for certain widths and sizes, and, to show at which
angle of the diagram the number of lengths which it
thus encloses are to be employed, a letter is added to
them.

Example. — Width of chest, 22^ inches (-[- 2^ B).
The parenthesis shows us that the number it encloses
is not to be divided, and must be added to the half of
the preceding number, as every width is divided into
two. In general, the number contained within the
parenthesis is enclosed within vertical lines. The result
of this measure is always to give greater amplitude to
the hips.

VARIABLE MEASURES FOR A DRESS WITH BASQUE

1. Length of body, 15^ inches + 7?^ = 23^^.

2. Width of shoulders, 18^.

3. Width of chest, iy/^ (+ 2^B).

4. Length underneath arm, 65,^ +7^ = i4/^-

5. Round of waist, 26^ (+ 2^ divide in two i^
from B to A, and ^ from A to B).

6. Length of back, 15^ + 7^ = 22^.

7. Width of back, first width, 15^ (^ A); second
width, 16}^.

8. Testing measure, 38^4.

9. Length of arm, first length, ii^i ; second length

CUTTING OUT BY MEASUREMENT 351

10. Size round arm, 15^.

11. Size round wrist, 6^.

Note. — For the round of waist, number 2^ in the
parenthesis, is divided into two parts ; the first meas-
ures i^, and is placed on the diagram of the side-piece
or small piece of back, and the second measuring six-
eighths, on that from A to B.

I. DRAFT OF THE FRONT

To draft the diagram of the front, take the length of
the body, 15^ -f 7^ = 23^, or height of the dia-
Q gram ; the half width of

chest ii>^ (+2^ -6) =
145^, width of diagram.

At angle B take off the
(2^) which have been
added to the second varia-
ble measure — the width of
chest. For the use of the
fixed measures here rep-
resented by figures, and
that of the variable meas-
ures in the annexed dia-
gram, see Section VII.
(page 334).

Note. — The darts must be prolonged, diminishing
them gradually to the bottom of the basque.

2. DRAFT OF BACK

To draft the diagram of the back, take —

Oa^ysiS

4-{ndit9

352 CUTTING OUT BY MEASUREMENT

The sixth measure — length of back — 15^ •\- 8^
= 24 (height of the diagram).
The seventh measure — first half-width of back =
lY^ (+78 A) = 8^ (width of diagram).

From A towards B take away
the seven-eighths that have been
added to the first width of
back. For the use of the fixed
■measures, marked b}' numerals,
and that of the variable meas-
ures, see Section VII. On line
AC, at the dot which indicates
the length of back : First, we
must take off horizontally three-
eighths, and draw a vertical line
from the point obtained towards
A and towards C; this last
forms a slightly curved line,
which gives a little fulness to the basque. Second,
on the line AC we must take off three-eighths, then
at this dot measure horizontall}- ly^ (fixed meas-
ure) ; join dot i^ to dot y% — the armhole — by a slightly
curved line, and from this same dot draw a straight
line to the line CD.

c m)

3. DRAFT OF THE SIDE-PIECE OF BACK

To draft the diagram of the side-piece of back, take —
The fourth measure — length underneath the arm —
^H + 7^ = i45'8 (height of diagram).

CUTTING OUT BY MEASUREMENT 353

o o

The fifth measure — fourth of round of waist — 1/% =
6}( (+ 2^) = SVs (width of diagram).
£jf A f.^ ff^i) Note. — The number (2^) add-

ed to the round of waist, is divided
into two parts, the first consists of
1 5^, drawn from B towards A ; the
second of six-eighths, drawn from
A towards B. From A toward B
carry six-eighths, and from this
point draw a line parallel to that
between A and C.
The use of the fixed measures are indicated by fig-
ures.

From B to A measure i^ (fixed measure).
From B to D measure i^ (fixed measure). Join
dot 13^ on line AB to dot i^ on line BD by a slightly
curved line. From dot i^ on line BD towards D,
measure the number of eighths given by the fourth
variable measure — the length under the arm = 6^,
and mark it by a dot. From this dot measure Ji hori-
zontally (fixed measure). From dot i}( of line BD to
dot }i of same line, draw a straight line, and from the
same dot Ji to dot O, draw a curved line.

Note. — From dot ^ on line BD a dotted line must
be drawn parallel to line AB, and ending on AC. From
the dotted line measure toward A on line AG j}( (fixed
measure), and join dot i}{ of line AG to i}:^ of line
AB by a lightly curved line, From dot ij^ of line
23

354 CUTTING OUT BY MEASUREMENT

AG by a slightly curved line. From i^ of line AG

to dot C, draw an oblique line.

For Draft of the
Sleeve, see the ordi-
nary dress sleeve,
Section VII.

DRESSING-GOWN

The draft of a dress«
ing-gown consists
in the pattern of —

1. The front.

2. The back.

3. The s i d e-
piece of back.

4. The sleeve.
To obtain the

height of the three
diagrams in whi«h
the body and skirt
are to be drafted,
take the variable
measures and write
down the number
given by the length
of the body ; then
measure to the bot-
tom of the gown,
and add two inches

CUTIING OUT BY MEASUREMENT 355

to the number obtained ; the total of these two numbers
will give us the height of the diagram for front of
gown. The length of the dressing-gown varies accord-
ing to the taste of each person.

For an ordinary dressing-gown, three French metres,
or 3 5'ards lo^^ inches, are generally allowed for the
bottom of the skirt, which leaves i yard 23 inches to
be divided between the three diagrams necessary for
body and skirt.

1. DRAFT OF FRONT

To find the height of diagram of front, take the height
of the person from the shoulder (at armhole) to the
bottom of the skirt plus two inches, total 583^ inches
(height of diagram). The width of diagram must be
the width of the material, let us say ig^ inches.
From A to C mark by a dot the length of the body.
From A to B mark by a vertical line the half width of
chest = 10^.

Note. — For the use of the fixed measures represented
by figures, and of the variable measures contained in
the diagram, see Section VII. From dot ^ at bottom
of armhole, measure vertically the fourth measure — the
length underneath arm = 6^^. From the point ob-
tained, begin a curved line, v^hich must end towards
D.

2. DRAFT OF BACK

To find the height of the diagram, take the height
of the person, from the shoulder (at the neck) to the

356 CUTTING OUT BY MEASUREMENT

bottom of the gown = 59 inches (height of diagram)

The width of dia-
gram is the width
of the material let
lis say 19^ inches
From B towards
A carry half the
first width of back
^ 77,-^ inches, and
mark by a dot ;
from this dot, draw
a line parallel to
AC equal to the
length of back, 15
3,'^ inches, and mark
by a dot ; this point
marks the waist,
from the waist pro-
long the line par-
allel to AC another
5^, which gives
additional length
to the waist, then
from the end of this
line, and in a di-
rection parallel to
DC, measure y%.
From the point
which marks the waist, measure horizontally yk, and

CUTTING OUT BY MEASUREMENT 357

join dot Y% to dot y% by a slightly curved line, which
will form the prolongation of the body. From dot ^

J^L4^ ^ draw an oblique line,

which will end at
the vertical line N.
Then, with the as-
sistance of the fixed
measures indicated
by figures, we can
form the slope of
neck, of shoulder,
and the armhole.
From dot, ^'s line N,
measure in a line
parallel to AB five-
eighths (fixed meas-
ure), and join it to
dot 1^ by a slightly
curved line, then
from dot i}{ draw a
line parallel to the
line N. Line m and
;/ show the material
which is required
for the folds.

3. DRAFT OF SIDE-
PIECE IN BACK.

To find the height
of the diagram lor the side-piece of back, take the

358 CUTTING OUT BY MEASUREMENT

height of the person, under the arm to the bottom of
the skirt, plus 2 inches =^oj^ (height of diagram).

The width of diagram will be the width of the mate-
rial, let us say igf^.

From B to A carry 4^ inches (fixed measure), from
dot 4^ measure vertically the number given by the
fourth variable measure — length underneath the arm =
6^ + i}{ (fixed measure ):^7)>^, and draw a line par-
allel to AC. From dot 4^ to A, measure the fourth
round of waist less ^=15^, and mark by a dot. From
this dot draw a line parallel to dot 4^, which will form
the three sides of a small diagram, in which the side-
piece should be drawn. From dot 4^ and parallel to
BD, carry i^ (fixed measure); from dot 4^ towards
A, carry equally i^ (fixed measure), and join these
dots by a curved line, which will form the armhole.
At the end of the line and dot 4^ and parallel fo BA,
take away seven-eighths (fixed measure), and join by
an oblique line to dot i^ of line 4^. From dot
^ draw a curve line towards D at the end of the
line which runs parallel to line 4^, and, in a direc-
tion parallel to BA, measure i){ (fixed measure),
then join by a curve dot i}( oi line AB to dot i^
of that parallel to line 4^.

To find the prolongation ot the body, the parallel
must be increased six inches by a vertical line. At
the end of this line and in parallel direction to BA,
measure i^ inch (fixed measure), and join it by an
oblique line to the parallel line under dot i}^. Line

CUTTING OUT BY MEASUREMENT 359
m shows the material required for the fold of the skirt.

4. DRAFT OF SLEEVE

(See Section VII.)
Having drafted and cut out the patterns, we must
test them by the testing measure. When we cut out the
material every pattern must be placed on two pieces
of it laid together, the two right sides being next each
other; if this precaution be not observed, one will be
cut on the wrong, and the other on the right side of
the stuff. The back, side-piece of back, and sleeve,
must be cut in the same way. When the material is
cut out, care must be taken to leave sufficient for the
turnings-in, and for the hem at bottom of the dressing-
gown,

LOW ROUND WAIST

To make a low body with round waist, take the same
number of variable measures as for a high dress.

Note. — When we take the seventh variable meas-
ure— the first width of back — we should calculate seven-
eighths less when the shoulder falls a little towards
the arm, but if the shoulders are short, then we may
follow the measure exactly.

For a high dress, the second variable measure — the
width of the shoulderstakeninfront — ought to have lyi
more than the seventh variable measure — the first width
of back — while for a low body or low apron, the width
of shoulders taken in front ought not to have more than
ij^ more than the first width of back.

360 CUTTING OUT BY MEASUREMENT

The variable measures of body and width of back
are not used in their entirety.

Example. — Length of bod)^, say 15^. To find the
number of eighths which ought to form the height of
the diagram, see in Section VII. the drafts of the pat-
terns for a body.

In the diagram of the front, on the line AC is found
the fixed measure, number 3^, in a vertical line; 3^

— ^ leaves 2^ inches; 2^ must be deducted from
the number given by the length of the body, 15^ ; 15^

— 23/^= 13 inches (height of diagram).

The width of diagram is equal to the half-width of
chest = 9^ inches.

HALF-WIDTH OF SHOULDERS z= 8^ INCHES

From A towards B carry the half-width of shoulders
%]/{ inches ; mark by a dot ; from
this dot measure verticall}^ seven-
eights. On line BA from the dot
which marks the half-width of
shoulders, carry towards A i^
inches; join dot ^ to dot \]^
by an oblique line, which forms
the shoulder-seam ; from A

towards C measure 3^ inches, and join dot i^ to

dot lyi by a slightly curved line.

DRAFT OF BACK

Length of back, 15^ inches.
To find the height of the diagram of back, see the

CUTTING OUT BY MEASUREMENT 361

draft of the back in the body of a grown woman, line
BD. On that line the fixed measure indicates the
slope of the shoulder as being of four inches. Num-
ber 3^ must be deducted from the number given by the
length of back, 15^ inches; i5->^ — 3/^= 12)^ inches
(height of diagram). The width diagram will be
equal to the half-width of the back = 6^^.

J^ a From B towards D carry ^ (fixed

measure). From B towards A carry
i^, and join by an oblique line dot
y% to dot i^, which forms the shoulder-
seam. From A towards C measure 4
inches, and join dot 4 to dot iJ4^ by a
slightly curved line. From B towards
D carry the size of wrist, less 2|/^, and
take off parallel to BD ^^ ; join dot ^ to dot ^ by
an oblique line. From C towards D carry ^, and
join dot yi on line CD to dot Y^ by a slightly curved
line.

XII

HOW TO TRANSPOSE THE FIXED AND THE VARIABLE MEASURES
WHEN IT IS WISHED TO THROW THE SHOULDER SEAMS
TOWARD THE BACK

The fixed measures which must be transposed for this
purpose are two :

The first, which indicates the shoulder-seam (front
of the body), instead of being3^ becomes only

362 CUTTING OUT BY MEASUREMENT

The second, which indicates the slope of the shoul-
der-seam (back of the body), instead of being
4 inches becomes 5^.
The variable measures are also two :

I, The width of the shoulders taken in front,
instead of being 2^, ought to be 4^ more than
the first width of back, which must never be
changed.
2. The size round wrist, instead of being 6^, a£
given by the measure, must have two inches more
to form the front of the armhole ; to form the
back of the armhole we must take one-third of
size round wrist.

SHOULDER SEAM

Having made the slope of
neck, measure from A toward
B half the width of shoulders
= 9^ inches, and mark it by
a dot ; from this dot descend
\y^ (fixed measure), and join it
to dot 2^ at slope of neck by
an oblique line, which will form
the slope of shoulder.
To form the front of the armhole, measure from dot
114^ in a parallel line to BD the round of wrist -f 2 =
8^4^, bringing it at same time back to line BD by a
horizontal stroke ; from this stroke, towards B carry
^, and join yi to the horizontal stroke by an oblique

CUTTING OUT BY MEASUREMENT 363

line, and to dot i^^, the slope of shoulder, by a curved
one ; which will form the armhole.

DRAFT OF BACK

After having formed the slope of
neck, measure from B towards D
5^ (fixed measure), and join dot i^
of slope of neck by an oblique line,
which will form the slope of shoul-
der.

ARMHOLE

From dot 5}^, towards D, meas-
ure the third of size round wrist, and mark it by a dot;
from this dot measure horizontally ^ towards AB, and
join by an oblique line to dot 5}^. From C towards
D measure ^, and join it to dot f^ by a slightly curved
line. ■

For the side-piece of back, see Section VII. For
the sleeve, see Section VII.

XIII

DRAWERS FOR A WOMAN

(Variable Measures)
Outer length of leg (from the hip to below the knee)
= i%y^ inches — Testing measure = 37^^, Round of
waist =27^. Size round wrist =6^. The latter three
are conventional measures.

DRAFT OF DIAGRAM OF DRAWERS

Height of diagram — outer length of leg 28^^ inches

364 CUT! IN G OUT BY MEASUREMENT

-\- the two thirds size round waist = 4^ inch, let us
say 32^.

Width of diagram
— half the testing
measure less i^ =
17^ inches.

Note.— To draft the
pattern on the mate-
rial, you must meas-
ure on the selvage
twice the height of
the diagram plus 3^
for the hems. Then —

1. Cut out the
material.

2. Fold it hori-
zontally, that
is to say, join
the two ends.

3. Fold it then
vertically, by which you join the four selvages,
which will represent to you the line of the dia-
gram AC.

The material being thus folded, you must -test it to
see if the width of the diagram is equal to half the
testing measure, less i^'s, and strictly follow the pre-
scribed use of the fixed measures and the variable meas-
ures indicated on the diagram.

CUTTING OUT BY MEASUREMENT 365

The fixed measures are indicated by figures, and tlie
variable measures by letters.

From A towards B measure i^ (fixed measure).

From A towards C measure 5^ (fixed measure), and
join it to dot i)^ by an oblique line. From B towards
A measure the third of the testing measure, 12^ inches,
and mark E ; from this dot measure vertically 3^
(fixed measure). From B towards D measure two-
thirds size round waist = 4^^ mark h and join this dot
to dot 3^ by an oblique line. From H to E draw in
same manner an oblique line. From A towards C take
half the testing measure plus i^ = 20^, and mark F.
From dot F measure towards A, 4^ ; from dot 45^;^,
in a parallel line to AB, measure the: two-thirds size
round waist =: 4^ ; mark g, and join this dot to dot F
by a curve, and to dot 3^ by an oblique line. From
D towards C measure the size round wrist + 4= loj!^,
mark ;/, and join this dot to dot F by a slightly curved
line.

Note. — The line which starts from line // and passes
by the dots 3^, ^and F, forms the front part of drawers.

DRAWERS FOR A YOUNG GIRL

(Variable Measures.)
Outer length of leg (from the hip and below the knee)
= 24>^ — testing measure = 28^— round of waist =
23/^ — size round wrist =5^^. The latter three are
the conventional measures.

DRAFT OF DIAGRAM FOR DRAWERS

Height of Diagram — the outer length of leg, 24^^

366 CUTTING OUT BY MEASUREMENT

and the third of size round wrist + J^ let us say, 27
inches.

Width of diagam — half the testing measure, less i^

= T2i4.

Note. — To draft the pat-
tern on the material, the
selvage must be measured
and cut twice the height of
the diagram, plus 3^ for the
hems. Then — .

1. Cut out the material.

2. Fold the material hor-
izontally (join its two
ends).

3. Fold it then vertical-
ly, by which the four
selvages will be joined,
and will represent to
us line AC of the dia-
gram.

The material being thus folded, you must test it to
see whether the width of the diagram is equal to half
the testing measure, less if^, and afterward the fixed
and variable measures, as indicated on the diagram,
must be strictly followed.

The fixed measures are indicated by figures, the
variable by letters.

From A towards B measure \]^ (fixed measure).
From A towards C measure 4 inches (fixed measure),

CUTTING OUT BY MEASUREMENT 367

and join this to dot ij^ by an oblique line. From B
towards A measure one-third of the testing measure r=
9^, and mark E ; from this dot descend 2 inches (fixed
measure). FromBtowards D measure one-third the size
round wrist -j- ^ = 2^; mark //, and join this dot to dot
E, and to dot 2 by two oblique lines. From A towards
C measure half the testing measure plus 1^ = I5li>
and mark F; from this dot towards A measure 2^ j
from dot 2^ measure in a line parallel to AB, the
third size round wrist ~\- ^ = 2^ — ^ ; mark g, and
join this dot to dot 2 by an oblique, and to dot F by
a curved line. From D towards C measure the size
round wrist + 2^ := 8}^ ; mark ;«, and join it to dot
F by a slightly curved line.

Note. — The line which starts from dot /i and passes
by dots 2, g, and F, forms the front part of the draw-
ers.

XIV

APRON, PRINCESS SHAPE

(For a child of Eleven).

VARIABLE MEASURES

Full length of apron .

37^

Width of shoulders

H'A

Testing measure .

. 28^

First width of back

Length of arm

18^—13^

Size round arm .

13^

Size round wrist .

5'A

368 CUTTING OUT BY MEASUREMENT

VERIFICATION OF THE VARIABLE MEASURES

Iff B 1- The width of

' shoulders, taken in

front, must have i^

more than the first

width of back.

2. The testing
measure gives us
the width of chest
and second width of
back.

We take the num-
ber which gives the
first width of back
■= 13, and make a
subtraction with the
number given by
the testing measure
= 28^ ; then, hav-
ing obtained the
desired result we
add 4^, and divide
them as follows :

EXAMPLE

Testing measure . . 28^ — 13= 15^
Second width of back . 13 -|- 1 1^ = 141^

Width of chest . . 15^ + 3^ = 18^

DRAFT OF DIAGRAM FOR FRONT OF APRON

Height of diagram — the full length of apron = 373^
inches.

CUTTING OUT BY MEASUREMENT 369

Width of diagram — the two-thirds of the testing

measure = 19^.

From A towards B measure half the width of chest

=9^ — /^ ; mark by a dot , from this dot draw a line

parallel to AC, and mark it NG.

Follow the fixed measures indicated on the diagram

by figures.

Having formed the slope
of neck from A towards N,
measure the half-width of
shoulders = yyi and mark it
by a dot. From this dot
descend 2 inches (fixed meas-
ure), and join it to dot 2^
at slope of neck by a slightly
curved line. From dot 2, at
slope of shoulder, measure
on a line parallel to NG the
size round wrist + ^ =
5^, bringing it then back
to line NG by a horizontal
line ; towards N measure ^,
then from dot ^ to dot 2
draw a curved line. From
dot ^ of armhole to angle
D also draw a slightly
curved line.

DRAFT OF DIAGRAM FOR BACK OF APRON

Height of diagram — 37^, full length of apron.

370 CUTTING OUT BY MEASUREAIENT

Width of diagram — 14^'^, half the testing measure.

From A towards B measure half the second width
of back = 7^, and mark it by a dot. From this dot
draw a line parallel to line AC, and mark it NG.

Slope of Neck. — From A towards N measure 2^
(fixed measure). From A towards C measure ^, and
join it to dot 2^ by an oblique line. The line between
A and N will be found to contain half the first width
of back = y% ; mark by a dot, and from this dot meas-

^ fn f Q ure vertically 6^ (fixed

measure) ; join the two
dots 2^ by an oblique
line, which will give
the slope of the shoul-
der. From dot 2^,
slope of shoulder, meas-
ure in a vertical direc-
tion the size round wrist

— iM^=4/^' bringing

P (k 0 \t then back to line NG

by a horizontal line ; mark F, and join dot F to dot
2^, slope of shoulder, by a slightly curved line.

DRAFT OF DIAGRAM FOR A SLEEVE WITH WRISTBAND

Outer length of arm, i8>^ (height of diagram).

Size round arm, 13^ + 2 = 15^ (width of diagram).

From A towards B, size round wrist 5^, and mark
by dot m. From A towards C measure one-third of size
round wrist i5<^ — ^4, and mark it by dot ;z; join m
and 71 by an oblique line. From C towards A measure

CUTTING OUT BY MEASUREMENT 371

i^ (fixed measure). From C towards D mark the
size round wrist by a dot// join dot /to i^ by an ob-
lique line. Mark the size round wrist twice r=: loj^^
-|- 2^ = i3> on the line between C and D by the letter
G. From B towards D measure the two thirds of size
round wrist -|- ^ = 3^, mark it by the letter E, and
join it by an oblique line to the letter G. From B
towards A measure the site round wrist, mark it by
the letter F, and join letter E to F by a curved line.

DRAFT OF THE DIAGRAM FOR WRISTBAND

Height of diagram — 2^ inches.
Width of diagram size round wrist -|- 2 = 7^.
'^ ^ Lay the selvage of the material

on AB.

Note. — Should anyone wish to make an apron,
Princess shape, for a child older or younger than
eleven years, see page 367 and the following, where the
fixed measures are given appertaining to different ages.
The difference between an apron. Princess shape, and a
dress, must be looked for in the "Verification of varia-
ble measures."

Example. — Apron for a child of eleven years old.
Width of shoulders, taken in front . 14^

First width of back .... 13

Remains . \yi

In the dress of a child of eleven, the width of
shoulders, taken in front, must have two inches more

372 CU TTING OUT BY ME A S UREMENT

than the first width of back. This difference is re-
quired for the slope of neck in the back, the fixed
measure from A towards B for the apron being 2^,
while for the dress it is only i^. The same rule ap-
plies to all ages.

APRON WITH SHOULDER STRAPS

The only peculiarity about this apron is a square
piece in front and back joined by shoulder straps out
according to a paper pattern. The lower portion of
the apron is gathered, before and behind, into straight
bands, first sewed on to the upper part with the shoulder
straps. To make this apron, we take the five follov/-

ing variable measures

Length of apron . . . 23^

First width of back . . . 11

Outer length of arm .... 13^

Size round wrist .... 4^

Testing measure .... 22^

I. DRAFT OF DIAGRAM FOR SHOULDER STRAPS

^ — 9 Height of diagram. — size round wrist

■^ +1^ = 5^

Width of diagram — size round wrist

less i)i =3/{-

From B towards D measure j4 (fixed
measure), join dot J/s to letter A by an oblique line.
From C towards D measure two-thirds of size round
wrist, let us say 2^, and join it to dot }i by an ob-
lique line. The material must be laid double on line

£ 0

CUTTING OUT BY MEASUREMENT 373

AC. On line CD the front square piece of apron body
must be sewed, and on line E ]/^ the sleeve. Two
shoulder straps must be cut out.

2. DRAFT OF DIAGRAM FOR THE SQUARE FRONT OF APRON

BODY

/, R Height of diagram

— one-third the size

^ O round wrist = I ^.

Width of diagram — the first width of back, 11 inches,
less one-third size round wrist, lY^ =^ 9^.

On line AB the material must be folded double along
the selvages, and angle B joined to line E of the first
diagram.

3. DRAFT OF DIAGRAM OF BACKPIECE

Height of diagram — one-third the size round wrist,
let us say i^.

Width of diagram — half the first width of back, 5^,
+ one-third size round wrist, i^ =6^ inches.

The two pieces, back and front, must be cut out
S alike. On line AB the material
I must be folded double along the

C ^ selvage. Angle A must be joined

to the oblique line E ^ on the first diagram.

4. DRAFT OF DIAGRAM FOR FRONT OF THE APRON

Height of diagram — length of apron, 23^ — 2^ =
21^.

Width of diagram — two-thirds of the testing meas-
ure.

3 74 CUTTING OUT BY ME A S UREMENT

From A towards B measure the first width of back
= 11 inches, and mark the point P. Fom this point
draw an oblique line to angle D. From line B towards
A measure one-third the size round wrist =^ i^g, and
mark it by F. From P towards D one-third size
round waist -j- ^ = i% ; mark it by the letter E,
then join F to E by a curved line, which will form
the armhole. Oh line AC the material must be folded
double along the selvage.

Note. — The diagram for
back of apron is exactly the
same as for the front. For
the diagram of sleeve see
page 370. By strictly follow-
ing the prescribed use of
the variable measures, this
shaped apron can be made
up for children of all ages,
between one and thirteen
years.

LOW-NECKED APRON FOR A CHILD

When we desire to draft the pattern for a child's
low-necked dress or apron, it is necessary, after having
taken the variable measures, to test them carefully,
looking back to Section IX. regarding dresses for
young girls and children, in order to see the number of
eighths required for the first width of shoulders, taken

CUTTING OUT BY MEASUREMENT 375

in front, and then to subtract but half the number
marked in each different age. We must also observe,
in the diagram of the front, on line BA, the indication
of the fixed measure for the shoulder. On the dia-
gram of the back, line BA, we shall find the fixed meas-
ure, slope of shoulder.

Example. — Child of eight years old. In the diagram
of front, line BD (fixed measure) 13^; i^ — i^ =
yi. This i^z taken off from the fixed measure is at
the same time taken off from the length of the body.

DIAGRAM OF FRONT

The height of the diagram is equal to the length of
the body, 13 inches — i^ = ^^Ya-

The width 01 diagram is equal to the half-width of
the chest = 7^.

VARIABLE MEASURES

Length of body . . . 13 inches.

Width of shoulders. . . iS}i-j4

Width of chest . . . 15^

Length underneath arm . . 5}4

Length of back . . . 12^-^

Width of back — first, 11^, second

width . . . 13

Testing measure
Length of arm (outer)
(inner)
Size round arm
Size round wrist

25 3^
13

376 CUTTING OUT BY MEASUREMENT

From A towards B measure the half width of should-
ers, and mark it by a dot. From this dot measure in
a line parallel to AC f^ (fixed measure) the slope of
shoulder. On line AB from the
dot which marks the half-width of
shoulder measure towards A i^ in-
ches, and join by an oblique line
dot i^ lo dot Y%, which will give
the slope of shoulder. From A
towards C measure 2^ inches, and
join dot 2^ to dot \% by slightly
curved line.

Armhole. — For the armhole take the number given
by the size round wrist ; from dot y% measure verti-
cally the number obtained, and mark it by a line drawn
parallel to AB ; from this parallel line measure ^
towards B ; join ^ to the parallel line by an oblique
line, and this one again to dot ^, the slope of shoulder,
by a curved line.

Darts. — For the darts, see Section TX where the fixed
measures are indicated.

DIAGRAM OF THE BACK OF A LOW-NECK BODY OR APRON
NOT HAVING A SIDE-PIECE.

In the diagram of the back, on line BD, the fixed
measure is 2^ — ^, and 1]/% — y^ — \y^ z= y^
becomes the fixed measure, the slope of back. The
i^ in the length of back must alsobetakea off, which
will give 12^ — 1^/8 = II inches (height of diagram).

From A towards B measure half the first width of

CUTTING OUT BY MEASUREMENT 377

back, and mark it by a dot ; from this dot measure ver-
tically Yz (fixed measure). From the dot which marks
half the first width of back, measure towards A i^
inch, and join dot i^ to dot S/z by an oblique line.
From A towards C measure 2 inches, and join dot \%
to 2 by a slightly curved line. Measure vertically
from Yz the size round wrist, less i^
and mark it on line BD ; then join
them by a slightly curved line (the
armhole). From D toward C meas-
ure i/z, and join dot yi to dot F by an
oblique line. From C towards D
measure ^7^, and draw an oblique line
from ^ toward 2. Between the dots Y^ and ^ on line
CD, there should be found the fourth of size round
waist, less ^.

m -0 ''''^

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